UCSB LIBRARY 
 X- 
 
 
 
 LIBRARY 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 SANTA BARBARA 
 
 PRESENTED BY 
 
 MRS. 
 ERIC SCHMIDT
 
 STUDIES IN MUSICAL HISTORY. 
 
 Hn aSbucatinal (3ante 
 
 c 
 
 COMPOSERS, MUSICAL LITERATURE 
 
 AND 
 
 THE ELEMENTS OK CRITICISM. 
 
 o o O o o 
 
 FOR INTELLECTUAL AND REFINED AMUSEMENT AND PROG- 
 RESS IN GENERAL MUSICAL KNOWLEDGE ACCORDING 
 TO A SYSTEMATICALLY GRADED COURSE. 
 
 DESIGNED AND PRACTICALLY DEVELOPED 
 
 ~f(M THE__ 
 
 USE OF MUSICAL STUDENTS AND AMATEURS, 
 
 BY W. A\. DERTH1CK, 
 
 A uthiir L>f the "Altinual of J/j/V," 
 
 . . ASS1STKK HY . . 
 
 W. S. B. MATTHEWS, A. }. GOODRICH, 
 
 JOHN S. VAN CLEVK, SIGNOR E. DE CAMPI, 
 
 LOUIS C. ELSON, CALVIN B. CADY, 
 
 JOHN C. FILLMORE, E.MIL LIEBLING, 
 
 FREDERIC G. GLEASoN, AUBERTINE W. MOORE. 
 
 CHICAGO: 
 MANUAL PUBLISHING COMPANY, 
 
 415 DEARBORN STREET. 
 
 1891.
 
 "I Vvili poi7t v|ou out t 9 e rigljt pat? of a pare 
 ipoble fiducatioip laborious iipoeeo at first 
 but else so sr^ootl? a^o greeip aijo full of goool^ 
 prospects 370 r^elooious sou^os 09 eVer^ si6e tl^at 
 tlpe ^arp of Orpheus is ^ot r^ore clparr^i^g." MILTON. 
 
 IS'.'l, 
 I'.V 
 
 W. M. DKKIHK K.
 
 INTRODUCTION. 
 
 In preparing the accompanying Studies in Musical His- 
 tory the author has endeavored to combine the pleasures 
 of a refined amusement with a practical and efficient 
 means of education. It is well known to educators that 
 the mind in its earlier stages of development is rarely 
 disposed to serious and prolonged application, nor even 
 at a more advanced stage is it easily awakened to the at- 
 tentive contemplation of unfamiliar subjects. Interest is 
 the first requisite to success in all study. How to arouse 
 interest, thereby securing attention without effort, is the 
 most important problem that presents itself to the teacher; 
 and to awaken the mind from its apathy and indifference, 
 and to divert its activities from idle and aimless pursuits 
 into the %i Klysian fields " of learning, is an object well 
 worthy the most ambitious effort. The principle in 
 Froebel's philosophy, which renders his system of teach- 
 ing so successful, is that kt the function of education is to 
 develop the faculties by arousing voluntary activity." 
 This he accomplished by providing for his pupils "a 
 graduated course of exercises modeled on the games in 
 which he observed them to be most interested." In these 
 games the acquisition of knowledge and the discipline of 
 the mind were apparently made subservient to the grati- 
 fication of a natural desire for amusement; but the lesson 
 was none the less lastingly inculcated, and the faculties
 
 INTRODUCTION. 
 
 pleasant Iv exercised, by these emulative and instructive 
 exercises. 
 
 It is said of .John Locke, author of the celebrated 
 treatise, upon "The Human Understanding," that the 
 part of his advice which made most impression upon his 
 contemporaries was his method of teaching reading and 
 arithm. tic by means of well considered games. The 
 principle and the device are much older than these. 
 Plato in hi> laws, speaking of Kgy pi , says: " In that 
 country systems of calculation have actually been invented 
 for the use of children, which they learn as a pleasure 
 an .1 an amusement. They have to distribute apples and 
 garlands, adapting the same number to either a larger or 
 a le<s number of persons; and they distribute to pugilists 
 and wrestler*, or follow one another or the}' pair together 
 by lot. Another method of amusing them is by taking 
 vessels of gold and brass and silver and the like, and 
 mingling them or distributing them without mingling. 
 As I was saying, they adapt to their amusement the num- 
 bers in common use, and in this way make more intelli- 
 gible to their pupils the arrangement and movement of 
 armies :md expeditions, and in the management of a 
 household they make people more useful to themselves 
 and wide-awake." Jowett's Plato, "The Laws," p. 815. 
 
 Thus it would appear that the greatest educators and 
 philosophers have chosen games as the most natural and 
 efficient means of attracting the attention of students to 
 subjects pre-enting at first little or no interest for them, 
 and the success of such institutions, as the Kindergarten, 
 fully demonstrates the practical effectiveness of this 
 me! hod. 
 
 The Studies herewith presented have grown out of the 
 author's experience in his various works of a musical
 
 /. V77? OD UC TTON. 
 
 character, as in the course of his contact with the musical 
 public he has found that in spite of the vast amount of 
 " taking lessons " in music, which exists in all parts of 
 the country, there is little or no attention given to cer- 
 tain phases, which ought to enter into every study of 
 music deserving the name. He refers to the history, and 
 literature of music, and the principles of criticism, upon 
 which alone a sound musical taste and intelligence can be 
 founded. These subjects, so important, and so deeply 
 interesting in themselves, are almost entirely neglected, 
 and this not alone in the smaller centers, but even in the 
 most important musical centers of the country. The 
 average music student is profoundly ignorant of musical 
 history and unversed in its literature. 
 
 If he is so fortunate as to make a practical acquaint- 
 ance with certain compositions of one or more of the 
 greater masters, the selections are detached, and learned, 
 and forgotten as unrelated incidents; a piece by Beetho- 
 ven, or Bach, or Chopin, standing in this respect but 
 little different from one by Sidney Smith, or the popular 
 writer of taking salon pieces of the da}". Moreover, even 
 if the student by reason of natural taste or good teaching 
 should happen to prove an exception to this sweeping 
 statement in the instance of one or even two sonatas of 
 Beethoven, the two pieces stand detached still, and as a 
 rule neither the pupil nor the teacher know whether the 
 particular sonatas chosen represent the composer in his 
 greater or lesser flights. Still less does the student con- 
 ceive of the sonata as part of the manifold tone-poetry 
 of the great master. In point of fact, there is much 
 good reason for this deficiency , since in spite of the many 
 books which have been written in this country concern- 
 ing music, there is hardly one affording this information
 
 vi OfTHODUCTfOff. 
 
 (unless the author bo permitted to claim an ^xceptiou in 
 his Manual / Mimic, which was expressly written to fill 
 this void.) Biographies we hare, for students and for 
 scholars, commentaries on the proper way of playing the 
 Treat er works of the great masters, and many other ex- 
 cellent things for the aid of musical students: but the in- 
 quirer seeking for the best and representative works of 
 tin- irreatest masters will be driven to make up his selec- 
 tion unaided, or as the result of his own studies. 
 
 Still more noticeable is the difficulty if the student 
 happen to desire to know which are the chief wor.ks of 
 all the great composers in any one particular province of 
 music . Here again he is driven to make his selection by 
 There is no work in which this information is 
 found. In certain provinces, or more properly in cer- 
 tain side lights, there is indeed aid in several quarters. 
 as for example in Mr. "NY. S. 15. Matthews' "How to 
 Understand Music." where the representative ph: 
 music are with considerable reference to this 
 
 :ain of its aspects; but it was not a part of 
 the intention of that very popular and interesting work 
 to answer the majority of the questions contained in the 
 manual accompanying the present set of studies. 
 
 Miu-h is said among amateurs concerning " sonatas " 
 and symphonies." Surely it is not a great deal to ask 
 "Which are the greatest productions in these two depart- 
 ments of music?" Yet ask the first student one meets 
 and the chances are that blank ignorance will be the dis- 
 covery. '-What are the leading chamber works?" Why 
 is not this a valid question? Is not much said over and 
 over airain concerning the beauties of this department of 
 music Which are the great opera-? Who AYCIC their 
 compo>ers? In what respects are these leading works
 
 INTRODUCTION. vii 
 
 alike, and in what different? What is the ideal of opera? 
 What the ideal of chamber music? What is concerto, 
 and how does it differ in form and character from 
 chamber music? What is oratorio, and what are the 
 greatest works of this kind? Wherein are these great 
 works alike and wherein different? Would it be possi- 
 ble to compare their merits by a scale of valuations 
 based upon their possessing or missing the most in- 
 dispensable qualities of works of this kind?" Surely 
 all these are legitimate questions. What is the chrono- 
 logical order of the greater composers? What are the 
 principal forms in music? What is a fantasia? What 
 are the greatest concertos? Who were the composers? 
 Which concertos are best, and why? Is there anything 
 unreasonable in such questions as these? What would be 
 thought of a student of literature who found himself 
 unable to give an approximate list of the greatest writers 
 in the language in which he had been studying? Yet in 
 music the corresponding knowledge is very rare. There 
 arc also many other questions which, although not so 
 obvious, are nevertheless important. For example: 
 What are the principles of the beautiful? What is meant 
 by classical" in music? What are the tests, which being 
 passed, entitle a composition to this rank? What is 
 "romantic" in music? The nomenclature of music con- 
 tains man}- words of this character, signifying distinctions 
 no less subtle than important; they are used daily by 
 students and amateurs with no proper knowledge of their 
 real meaning, and in connections which expose to silent 
 criticism all those who thus ignorantly employ them. 
 These are a few of the thousands of questions which are 
 asked and answered in the Studies herewith, and answered
 
 INTRODUCTION. 
 
 in such a manner, with such clearness and definiteness , 
 as to be easy to fix in the memory. 
 
 The information in the accompanying studies is suffi- 
 cient to fill quite a good-sized volume. Let us consider 
 it more in detail. The cards are arranged in classes, 
 eight or sixteen cards in a class, according to the import- 
 ance and magnitude of the subjects. There are sixteen 
 cards devoted to the opera. Here, as in all other in- 
 stances, the cards are of two kinds, general and special. 
 The general cards are devoted to defining the qualities 
 of the particular province of music to which they belong. 
 In opera, for instance, there is a card called "Character- 
 ization of Opera," giving in very succinct form the ideal 
 proposed in this form of art. Another general card. 
 "Definition of Qualities in Opera," explains the meaning 
 of the analysis of qualities given in the comparative 
 valuations. This analysis is as complete as it was pos- 
 sible to make after consultation with a large number of 
 the foremost musicians and musical writers of this coun- 
 try. The text is valued as to its musical fitness and its 
 dramatic opportunity; the music as to its spontaneity, 
 elaboration, dramatic truth, and adaptation to the voice; 
 the orchestration as to its beauty of tone color and its 
 dramatic strength. There is yet a farther element of 
 comparison in the scenic demands. The specific cards 
 in this set take up the fourteen great representative operas 
 (allowing only one to each composer). There is a short 
 sketch of the history of the work, and a general estimate 
 of its place in art. Besides, there is a " qualitative ana 
 lysis," in which the work is marked on a scale of ten in 
 ii'h of the qualities mentioned in the " Definition of 
 Qualities." These valuations are approximate only and
 
 INTRODUCTION. 
 
 must be so understood; nevertheless, they have been 
 made by some of the most competent critics in America, 
 and revised with great care, and finally averaged from 
 the results of many individual valuations made inde- 
 pendentl}-. "Whatever dissent may be taken from one or 
 the other particular rating, the valuations in the main 
 are just, and afford a new and important assistance to the 
 intelligence in comparing different works with each other, 
 and measuring their approximation to the proper ideal of 
 opera. I may say further, that when the plan of these 
 qualitative valuations was first proposed to musicians, it 
 was rejected unanimously; nevertheless I found by talk- 
 ing with different critics that their estimates of great 
 works were approximately the same or similar, a fact in- 
 dicating the tacit recognition of certain inherent qualities 
 of the works, and certain standards of valuation. On 
 farther study and consultation I was pleased to find that 
 my idea began to appear practical to these gentlemen, 
 and after some time and many changes we arrived at the 
 definition of qualities and valuations on the cards. If 
 the cards in the opera set be arranged chronologically 
 the student will find that the progress towards complete 
 opera is very manifest, from the recitative of the first 
 opera, Peri's u Kurydice" to the splendid endless melody 
 of Wagner's "Tristan and Isolde." It will be noticed 
 here, and especially in certain departments yet to be con- 
 sidered, that the valuations are high, 10 's appearing 
 quite frequently. This is explained b}' the fact that only 
 masterworks of the different periods and schools find a 
 place here at all. 
 
 Class D is devoted to Oratorio. There is one general 
 card, defining the qualities and the ideal of oratorio, and 
 giving also a bird's-ej-e view of its histxny. Then follow
 
 INTK ODUC TION. 
 
 seven special cards, each devoted to one representative 
 work of this class. Here again the information is given 
 that the student naturally needs. First as to the cir- 
 cumstances of the production of the work, and its period. 
 Then a general estimate of its merit, and reference to its 
 most important musical numbers. In this way are treated 
 Hit- first oratorio, Cavaliere's "Representation of the 
 Soul and the Bod}-, ' ' Bach Passion Music j the ' ' Messiah, ' ' 
 'Creation." "Mount of Olives," Spohr's "Last Judg- 
 ment," and "Elijah." In this department the principles 
 of sacred music are contained by implication, and the 
 works chosen are those which mark the highest flights of 
 music in the direction of the sublime. 
 
 Class E again takes up the Symphony, the highest type 
 of instrumental music. Here as before there is a general 
 card defining the ideal proper to this form of art, and 
 affording a succinct account of the history of sym- 
 phony. Then follow seven specific cards each devoted 
 to a particular masterwork, with its history, its qualita- 
 tive analysis and a general statement of its place as a t3'pe. 
 or representative of the class. Tho composers represen- 
 ted arc Mo/art. Haydn, Schubert, I Jeethoven, Mendel- 
 ssohn 1-is/t, and Saint-Saens. 
 
 Class K. is devoted to the Concerto. There is a o- e n- 
 
 S 
 
 ;-r:il card defining the qualities and the ideal of this 
 form of music, and giving a. general idea of the manner 
 in which the concerto had its origin, and thedirection of 
 its progsess to the highest point reached. The works 
 chosen are the very greatest. Beethoven's "Emperor," 
 Chopin E minor, Schumann A minor, Mendelssohn G 
 minor, l.is/.t E flat major, Saint-Saens in G minor, and 
 I'aganini in E minor. Kaclv of these comes up for its 
 history, its general points of excellence and superiority,
 
 INTRODUCTION. 
 
 and a qualitative valuation, whereby comparisons are 
 facilitated between different works. 
 
 Class G treats of the Sonata in the same manner. Be- 
 sides the general card defining the qualities of the sonata 
 and giving a general idea of the history of this form of 
 art , seven specific cards follow devoted to C . P . E . Bach 's 
 sonata in F, Mozart's sonata in C minor, Ilaj'dn's sonata 
 in D, Beethoven's Appassionato, Schubert's sonata in A 
 minor, Weber's sonata in A flat, Schumann's sonata in G 
 minor. These works are compared with each other as to 
 their melodic spontaneity, harmonic strength, thematic 
 development, formal beauty, depth of meaning, fitness 
 for the instrument and pleasing quality. In the cards of 
 this set and the next following, the various writers have 
 been peculiarly fortunate in bringing out the poetic 
 implications of the works discussed, wherelrv the analysis 
 is elevated out of a mechanical estimate into the realm 
 of pictorial and poetic suggestiveness. 
 
 Class H deals with chamber music, the highest type of 
 instrumental music for selected audiences and performers 
 of artistic quality working together in self-forgetfulness 
 towards a mutual end. There is first a general card de- 
 fining chamber music and its sub-divisions, giving also a 
 short history of this form of art. Then follow seven 
 specific cards devoted to masterworks in this department. 
 They are Grieg's quartet for strings in G minor, Beetho- 
 ven's string quartet op. 131 , Schubert's quartet in D minor 
 (" Death and the Maiden "), Schumann's quintet, Saint- 
 Saen's quintet, and Rubinstein's trio in B flat major, and 
 Brahm 's quartet in D minor . These beautiful tone poems , 
 "of finest ray serene," are discussed in a fortunate man- 
 ner, affording at once a basis of comparative valuation, 
 and a suggestion of their poetical qualities.
 
 x jj INTRODUCTION. 
 
 Class I is df voted to songs that form of music so near 
 the daily needs of the amateur, } r et so far from discrimi- 
 nating good lastf. Here the same plan is followed as in 
 the pivcvding classes. After the general card defining 
 the ideal of this kind of music, and the qualities which 
 enter into its success, there is a brief historical view of 
 the growth of the song, and the phases of the ideal dis- 
 tinguishing the principal classes from each other. In 
 this department there was such a wealth of material that 
 it was peculiarly dillicult to reduce the selections to the 
 number of seven, and still afford a general view of the 
 subject. After many consultations with different experts 
 in Hi is department, the following list was selected as on 
 the whole embodying the best practicable representation 
 within the narrow limits proposed. The}' are the "Ade- 
 laide," of Beethoven, "He the Noblest," of Schumann, 
 the "Krl King," of Schubert, "Palm Trees," by Faure, 
 "Non e Ver," by Tito Mattel, " Home, Sweet Home " 
 and "The Lost Chord," by Sullivan. These, as before, 
 are described, characterized and analyzed for purpose of 
 comparison. It might possibly have been better to have 
 extended the number of selections in this department in 
 order to include representatives of the Franz songs, and 
 the later French and German lieder, but as the number 
 of subjects pressing for recognition was very great in the 
 aggregate, it was thought that the types represented in 
 the selections admitted, practically cover the ground. 
 
 The foregoing list, long as it is, embracing six pro- 
 vinces of music, the most important, and no less than 
 fifty-six masterworks in these departments, is far from 
 completing the scope of these studies. Long before the 
 earliest of these masterworks was produced (in 1GOO), 
 there had been an art of music which prepared the way
 
 INTRODUCTION. xiii 
 
 for these later achievements. There is no illustration of 
 the law of progress more brilliant than that shown in the 
 art of music, if we take it from the earliest appearances 
 of the art, more than 4,000 years before the Christian 
 era, in Egypt, down to the time when masterworks in the 
 modern sense began to be composed. Hence class A is 
 devoted to the antiquities of music, in which music itself 
 is defined and a table of its qualities given upon a gen- 
 eral card, with a bird's eye view of its entire history and 
 its great epochs and their relation to each other. Then 
 follow seven specific cards devoted to the representative 
 moments of the ancient art of music, from that of the 
 ancient Egyptians down to the period of Hucbald, the 
 first theorist who gives musical examples in musical no- 
 tation and consequently the first writer whose music can 
 be understood accurately as to its scale and the order of 
 its melodic rnake-up. The subjects are: Ancient Egyp- 
 tian music, of which a running account is given, and a 
 memorandum of their instruments, together with an anal- 
 ysis of qualities (in so far as they can be inferred from 
 the illustrations remaining, several of the most important 
 of which are given in the present volume) ; ancient Greek 
 music with an account of the classic drama; ancient Hin- 
 doo music with an account of the Hindoo drama and the 
 principal instruments of their music; a general card de- 
 fining early Christian music; St. Ambrose, St. Gregory 
 and Hucbald. These celebrated names are placed accord- 
 ing to their influence upon the art of music, in the light 
 of the best information attainable, and the characteristic 
 points of their doctrines are given . 
 
 After Hucbald we enter upon a more advanced period 
 (class B, mediaeval music), tending more nearly towards 
 the principles of art now in force. The topics are medi-
 
 INTRODUCTION. 
 
 jeval secular music, Franco of Cologne and Franco of 
 Paris, with qualitative analyses of their music, Dufay 
 ami early polyphony, the great Netherland writers of the 
 next period, Okeghem, Josquin, Willaert and Gombert; 
 Martin Luther and the Protestant chorale, Orlando Las- 
 sns and his place in art; Falestrina and pure church music. 
 These two hooks of sixteen cards contain the gist of the 
 information usually occupying more than a volume in 
 the large musical histories, and the condensation and 
 clearness of the present statements will be highly appre- 
 ciated by the student, I am quite sure. 
 
 Nor have we yet exhausted the information covered 
 by this set of studies. There are still sixteen other gen- 
 eral cards, devoted to separate points of general infor- 
 mation concerning music, and the less important forms 
 of musical art , such as amateurs often desire, yet find it 
 very difficult to locate. The topics are the principles of 
 musical form, the fantasia, the fugue, the etude, songs 
 without words, the madrigal and its related part songs, 
 the nocturne, the principles of the beautiful, the classical 
 in music, definitions of the romantic, miserere, requiem, 
 te deum, principles of pronunciation of French, German 
 and Italian words, literary interpretation in musical aes- 
 thetics, musical history, reasons why it should be 
 studied. Each of these treated analytically and historic- 
 ally. in such a way that the reader is furnished with a 
 synopsis of existing knowledge upon, the subject. 
 
 If now we review these six great departments of music, 
 represented in the studies, for the purpose of observing 
 the representation made of the greater composers in their 
 different, kinds of composition, we find, as would be an- 
 ticipated, Ileet.hovrn at the head, he being represented 
 upon the instrumental side, where his supremacy was
 
 INTRODUCTION. xr 
 
 greatest, by a symphony, siring quartet, concerto and 
 sonata; and upon the vocal side, where he was less great, 
 by an opera, oratorio, and is mentioned upon the mass 
 card and song. Mozart, also, who was one of the uni- 
 versal musicians, is represented by an opera, his requiem, 
 symphony and a chamber quintet. Schubert, again, is 
 represented by symphony, sonata, string quartet and :i 
 soiig. Mendelssohn is represented among the composers 
 of oratorio, symphony, concerto and a general card de- 
 voted to the song without words. AVeber is represented 
 among the composers of opera and pianoforte sonatas. 
 Schumann is represented on the cards devoted to concer- 
 tos, sonatas, chamber music, songs, and is especially rec- 
 ognized upon the general card devoted to the romantic. 
 Haydn is represented among the composers of the orato- 
 rio, symphony, including especial recognition in the 
 general card as founder of this form, and sonata. Liszt 
 figures in the departments of symphony (symphonic 
 poems), concerto, and is mentioned in the card devoted 
 to the transition from the romantic to the realistic and 
 sensational (see principles of the romantic.) . Some of 
 the very latest composers are represented here in several 
 departments, as Saint-Saens, who figures as composer of 
 symphonic poems, concertos and chamber music. The 
 total number of composers represented is forty-five, and 
 it is demonstrable that these names include all of those of 
 the very first importance in music, whether we estimate 
 according to beauty of compositions or their historical 
 interest. 
 
 I may add that these cards have been written by experts, 
 and represent the latest and most authoritative conclu- 
 sions upon the several subjects. It should be observed 
 further, that the information here embodied is not com-
 
 xvi INTRODUCTION. 
 
 mon, and much of it cannot bo found in encyclopedias, 
 but is the result of original study by the several experts 
 furnishing it. 
 
 It will be seen, moreover, that we not only furnish 
 this vast amount of information, in clear and simple 
 form, but, which is much more to the point, the 
 >i iiii-'iiis i >f which it can be ac<ji'r<'<{. i>(<'<ix<utt.lii lj o 
 students. This will appear more plainly by reading the 
 directions for conducting the game, especially the " re- 
 quirements of the progressive- grades;" or still better by a 
 carefully conducted trial of it according to the directions. 
 It will then be found that in the earlier exercises the at- 
 tention is concentrated upon a select part of the entire 
 series, the cards, namely, which concern themselves with 
 vocal music. The general range of this field is acquired 
 by the pupil unconscious to himself, and during the first 
 seven exercises nothing is expected in the way of infor- 
 mation beyond the general matters at the top of the cards . 
 AVith the eighth exercise (or grade) the work begins 
 upon the questions for bringing out the information in 
 the text. With the next grade another class is added, 
 ami so on, one point after another being brought out, 
 until at the fortieth exercise the class is supposed to have 
 mastered the information upon the entire ninety-six can Is. 
 Those who have done this will be able to comply with 
 the requirements of the higher grades, and will receive 
 a current interest upon their expenditure of study and 
 patience in the way of immediate success in acquiring 
 valuable "books," for precedence in the game. All this 
 will become apparent by noticing carefully the grading 
 requirements and the directions in regard to " acquiring 
 cards." Or by conducting a short trial in any one ol 
 the higher grades, permitting (for the sake of the experi-
 
 INTRODUCTION. xvii 
 
 ment) the players to refer to the text in answering the 
 questions required for gaining cards from other players. 
 
 It will also be found that such is the interest and at- 
 tractiveness of the subject matter, and such its variety, 
 that the present game shows itself far more interesting, 
 and far more varied and fascinating in its practical ap- 
 plication, than any game of authors or other similar in- 
 vention hitherto introduced. This, which the student 
 will eventually discover for himself, has already been 
 so thoroughly demonstrated by the many trials that have 
 been made of the present studies, that the author does 
 not scruple to mention it in this place; since whatever of 
 interest there may be upon the cards is so largely due to 
 the eminent musical gentlemen who have so heartily co- 
 operated with him in preparing them. In this list should 
 be included not only the authors of the specific text upon 
 the cards, identified by initials affixed, and elsewhere 
 given in full (see contents) , but also quite a number of 
 others who failed to find leisure for formal contributions, 
 but who have been of important service by suggestions, 
 advice, and occasionally by valuations in special depart- 
 ments. Among these are Signer Eliodoro De Campi, 
 Prof. C. B. Cady, Mr. John S. Van Cleve, Mr. Louis 
 C. Elson, Prof. John C. Fillmore, Mrs. Aubertine 
 Woodward Moore, Mr. Frederick Grant Gleason, the 
 well-known composer and scholar, Mr. A. J. Goodrich, 
 Mr. Emil Liebling, the teacher and pianist, and Mr. W. 
 S. B. Mathev. 
 
 Many others were invited to co-operate, but their copy 
 was received too late, or the}' found it too difficult to 
 condense their ideas into the limits here practicable. But 
 while personalty not appearing in cards bearing their ini- 
 tials, many of them were of great service with advice 
 
 2
 
 xv jji INTRODUCTION. 
 
 and suggestions, which they were not able to put into 
 writing, owing to a press of professional engagements. 
 Among these Mrs. Sara Hershey-Eddy deserves especial 
 mention . 
 
 I feel, moreover, that I ought to make special men- 
 tion of the aid contributed by the well-known writer, 
 Mr. W. 8. B. Mathews, who, besides the cards bearing 
 his signature, has co-operated with me at all stages of 
 the work, and in several cases has been of peculiar service. 
 To all these gentlemen I am obliged for the hearty and 
 efficient quality of their co-operation. The eminence of 
 their names has placed an additional duty upon me to 
 fully complete the plan of the work, and mature the dif- 
 ficult features of it before allowing it to come before the 
 public, to the end that no failure might ensue from some 
 omission of detail. For this reason the studies have 
 taken considerably longer to prepare than was expected, 
 but I feel quite sure that the students will have no reason 
 to regret the delay . 
 
 The employment of certain terms, ordinarily associated 
 witli games, which make no pretentious to higher pur- 
 |K>ses than mere amusement, will be regretted by quite a 
 number, as well as by myself. It was inevitable, how- 
 ever, that a game, in which success is measured by the 
 players' aptitude in obtaining and retaining certain 
 groups of cards (representing certain definite parts of the 
 field of knowledge covered by the studies), should avail 
 itself to a certain extent, for greater clearness, of terms, 
 some of which have been designed originally to cover a 
 much less noble kind of triumph. 
 
 I will add, further, that I will at any time be pleased 
 to communicate with any who desire to make suggestions 
 or criticisms, or who desire information. 
 
 W. M. DERTHICK
 
 LIST OF .S7V>'JA-C7VV. 
 
 LIST OF SUBJECTS. 
 
 CLASS A. ANTICJIMTIKS OF Music. 
 Definition of Music. Its beginnings. 
 Ancient Egyptian Music. 
 Ancient Hindoo Music. 
 Ancient Greek Music. 
 Early Christian Music, 
 St. Ambrose and early Ecclesiastical 
 
 Music. 
 
 St. Gregory and his reforms. 
 Hucbald, Diaphony, Organum and 
 
 Notation. 
 
 W. S. B. Mathews. P. 
 W. S. B. Mathews. 13 
 \V. S. B. Mathews. 18 
 W. S. B. Mathews. 20 
 W. S. B. Mathews. 23 
 
 W. S. B. Mathews. 'JM 
 W. S. B. Mathews. i>4 
 
 W. S. B. Mathews. 24 
 
 CLASS B. MEDIAEVAL MUSK. 
 
 Mediaeval Secular Music W. S. B. Mathews. 26 
 
 Guido. Solmization and Start'. W. S. B. Mathews. 26 
 
 Franco of Cologne and Franco of Paris. W. S. B. Mathews. 27 
 
 L. C. Elson. 
 
 L. C. Elson. 
 
 Dufay and early Polyphony 
 
 okejrhem. DCS Pres. Willaert and 
 Gombert. 
 
 Martin Luther and the Prote.-t.-n.T 
 Chorale. 
 
 Orlando Lassus and his place in Art. L. C. Elson. 
 Palestrina and Pure Church Music. L. C. Elson. 
 
 28 
 
 29 
 
 W. S. B, Mathews. 30 
 30 
 31 
 
 CLASS C. 
 Characterization of Opera. 
 Definition of Qualities in Opera. 
 Eury dice Peri . 
 
 W. S. B. Mathews. 83 
 W. S. B. Mathews. 33 
 L. C. Elson. 34
 
 xx LIST OF SUBJECTS. 
 
 Tanrrrdi Monteverde. L. C. Elson. 35 
 
 Armide Lulli A. J. Goodrich. 35 
 
 Teodora Scarlatti. A. J. Goodrich. 35 
 
 Orpheus Gluck. F. G. Gleason. 36 
 
 Don Giovanni Moxart. F. G. Gleason. 37 
 
 Fidelio Beethoven. A. J. Goodrich. 37 
 
 l>er Freis.-hnet/ Weber. W. S. B. Mathews. :!S 
 William Tell Rossini. E. de Campi. ::s 
 
 II -uenots Meyerbeer. W. S. B. Mathews. :>'. 
 Lucia di Lammermoor Doui/ctti. E. de Campi. 39 
 
 Faust Guonod. W. S. B. Mathews. 40 
 Aida Verdi A. J. Goodrich. 40 
 
 Tristan and Isolde Wagner. F. G. Gleason 41 
 
 CLASS D. ORATORIO. 
 
 Definition of Qualities and Charac.ter- 
 
 i/ation. W. S. B. Mathews. -VI 
 Representation of Soul and Body 
 
 Cavalie.v. J. C. Fillmore. 43 
 
 Passion Music Bach. J. C. Fillmore. 44 
 
 Me.-Mali- Handel. W. S. B. Mathews. 44 
 
 Creation Haydn. .1. ('. Fillmore. 45 
 
 Elijah Mendelssohn. W. S. B. Mathews. 46 
 
 Mount of Olives Beethoven. W. S. B. Mathews. 47 
 
 Last Judgment Spohr. W. S. B. Mathews. 47 
 
 CLASS K. SYMPIIOSI . 
 
 Definition of Qualities and (.'liararter- 
 
 i'.al""". C. 15. Cady. 411 
 
 Oxfo.,1 Ilnydn. J. S. Van Cleve. ;>4 
 
 Jupit.-r .Mn/arl. J. C. Fillmore. 50 
 
 C Minor Beethoven. J. S. Van Cleve. r,\ 
 
 - 'fell A Minor Mendelssohn. E. Liebling. :>l 
 
 C M.-ij.n Srlmbert. J. C. Fillmore. 52 
 
 Li-s I'reludes Liszt. W. S. ]',. Mathews. 54 
 
 Dance of Death Saint-Saens. A. J. Goodrich. 53 
 
 CLASS F. CONCERTO. 
 Definition of Qualities and Character- 
 
 i/:ltion - W. S. B. Mathews. 56 
 
 E Flat Beethoven. \V. s. B. Mathews. 57
 
 LIST OF Sl'BJECTS. 
 
 XXI 
 
 E Minor Paganini. 
 G Minor Saint-Saens. 
 E Minor Chopin. 
 (r Minor Mendelssohn. 
 A Minor Schumann. 
 E Flat Lis/t. 
 
 CLASS ("J . SONATA. 
 
 Definition of Qualities and Character- 
 i/atiou. 
 
 E Flat Haydn. 
 C Minor Mo/art. 
 Appassioiiata - Heethoven. 
 A Minor Schubert. 
 G Minor Schumann. 
 A Flat -Weber. 
 F C. P. E. Bach. 
 
 W. S, B. Mathews. 62 
 60 
 
 E. Liebling. 58 
 
 60 
 
 E. Liebling. 58 
 
 K. Liebling. 61 
 
 C. B. Cady. 63 
 
 C. I',. Cady. 64 
 
 .). S. Van Cleve. IF, 
 
 .1. S. Van Cleve. 66 
 
 C. I!. Cady. 66 
 
 .1. S. Van Cleve. 67 
 
 \V. S 15. Mathews. 69 
 
 .!. S. Van Cleve. 68 
 
 CLASS H. CHAMBER Music. 
 
 Definition of Qualities and Character 
 
 i/ation, 
 
 Trio B Flat Rubinstein. 
 Quartet for Strings Brahms. 
 Quartet op. 131 Beethoven. 
 Quartet for Strings Grieg. 
 Quintet Saint-Saens. 
 Quartet D Minor Schubert. 
 Quintet Schumann. 
 
 W. S. B Mathews. 
 E. Liebling. 
 C. B. Cady. 
 J. S. Van Cleve. 
 C. B. Cady. 
 C. B. Cady. 
 W. S. B. Mathews. 
 W. S. B. Mathews. 74 
 
 CLASS I. SOXG 
 
 Definition of Qualities and Character- 
 ization. 
 
 Erl King Schubert. 
 Home, Sweet Home Bishop. 
 He the Noblest Schumann. 
 Lost Chord Sullivan. 
 Adelaide Beethoven. 
 The Palmtrees Faure. 
 Non e Ver Mattei. 
 
 W. S. B. Mathews. 75 
 W. S. B. Mathews. 76 
 W. S. B. Mathews. 76 
 W. S. B. Mathews. 77 
 W. S. B. Mathews. 78 
 J. C. Fillmore. 78 
 W. S. B. Mathews. 79 
 W. S. B. Mathews. 77
 
 XXII 
 
 LIST OF SUBJECTS. 
 
 MISCELLANEOUS. 
 
 Kantasie 
 Btnde. 
 
 Nocturne. 
 
 Madrigal and its related Part Son^s. 
 
 Mass. 
 
 Requiem. 
 
 Te Deuin. 
 
 Sontr Without Words. 
 
 Principles of Pronunciation. 
 
 Principles of the Beautiful. 
 
 The Romantic iu Music. 
 
 The Classical in Music. 
 
 Literary Interpretation in Musical 
 
 jEst Ill-tics. 
 
 Musi- .1 1 History and Reasons Why it, 
 
 si ..... id be Studied. 
 Typical Musical Forms. 
 
 F. G. Gleason. 88 
 
 W. S. B. Mathews. 81 
 W. S. B. Mathews. 81 
 .1. S. Van Cleve. S2 
 A. W. Moore. sr> 
 
 W. S. B. Mathews. J)l 
 W. S. B. Mathews. 87 
 W. S. B. Mathews. s:i 
 .1. C. Fillmore. 83 
 
 W. M. Dei-thick. 93 
 W. S. B. Mathews. 9l2 
 W. S. B. Mathews. 110 
 W. S. B. Mathews. sf, 
 
 J. S. Van Cleve. 89 
 
 A. W. Moore. S4 
 
 W. S. B. Mathews. SO
 
 STUDIES IN MUSICAL HISTORY. 
 
 QTJIESTIOICTS 
 
 CLASS A. ANTIQUITIES OF MUSIC. 
 
 DEFINITION OF MUSIC. ITS BEGINNINGS. 
 
 1 . What is the meaning of the word Music ? 
 
 2. Give the technical definition of music. 
 
 3. What are the first elements of an artistic music? 
 
 4. Give a definition of Rhythm. 
 
 5 . What is Melody ? 
 
 6. What is Harmony ? 
 
 7. What is meant by "innate expression? " 
 
 8. What is tone-color ? 
 
 9. What relation do instruments bear to the tore- 
 going qualities ? 
 
 10. In what way are the earliest and the latest music 
 related ? 
 
 1 1 . What have been the actuating forces in the de- 
 velopment of music ? 
 
 12. Which of these came first into operation? 
 
 13. What early instance of music does Max Mueller 
 mention ? 
 
 14 . Whence arises the feeling of reverence with which 
 music has been regarded in all ages? 
 
 15. What were the earliest hymns used in religious 
 worship ? 
 
 16. Why are not qualitative valuations assigned to 
 this old music ? 
 
 17. Describe its musical qualities.
 
 12 STL/DIES IN MUSICAL HISTOJtr. 
 
 ^ ta o> -. o> v> o> 
 
 5 ~ /. S ^3 j;.x = 
 
 1 2alffi 3 a 
 
 ? ^cc5-i5 u 
 
 a . g^glo 
 
 -i ta-3 oj ft 
 I -= 'fe'lsi? 
 
 S O a; "of on * 
 
 -ftSg*Sy& 
 
 
 :=S--S.3 
 
 -S-jEiSB^ 
 
 S .<->t!3 w I O
 
 STUDIES 7.V .W.s/r. I A JII.STORT. 
 
 13 
 
 ANCIFAT KCYl'TIAN MUSIC. 
 
 1. What was the estimation of music among the 
 ancient Egyptians ? 
 
 2. How has the general character of music in ancient 
 Egypt been ascertained ? 
 
 Fig. 3. 
 
 Figure 3 Is a group of blind musicians, a harper, a singer and a player 
 upon the banjo, taken from an Egyptian tomb of the middle empire. 
 
 3. Where are the oldest tombs , and what is their char- 
 acter and extent ?
 
 14 
 
 s /.v MUSICAL HISTORY. 
 
 \. (live the assigned date of the oldest of these rep- 
 n Dentations ? 
 
 Fio.4 
 
 5. 
 6. 
 
 What were the instruments in these illustrations? 
 How many strings had the harps of that epoch ? 
 
 Fio. 5, 
 
 Figures 4 and 5 are triangular harps, the kinnor of the Hebrews, the harp 
 which (icnosU represents .lubal us inventing, the same which David played be- 
 fore Saul, and the same which the captive children of Israel hung upon the 
 willows of Babylon. 
 
 7. In what important structural respect were they un- 
 like our modern instruments ? (See Fig. 2.)
 
 .V7YYW.V /.Y MUSICAL 
 
 lo 
 
 8. Describe the harps illustrated in the tomb of 
 RamesesIV. (See Fig. 10.) 
 
 9 . What change appears in harps of later date ? 
 
 Kio. . 
 
 10. What is the largest number of strings mentioned 
 as having been ascertained from the monuments ? 
 
 1 1 . What other instruments had the Egyptians ? 
 
 12. Are we to regard the adoption of the Kithara in 
 place of the harp, as an advance in musical appreciation 
 or a step in retrograde ?
 
 16 
 
 STUD/ES IN MUSICAL HISTORY. 
 
 lire represents Assyrian harps. ' 
 
 whMir ' - - 7 - sort of metallic instrument on 
 
 ''' " "JT es , "rsoumlii.tfr.Hls w.-re struck by a little metalU,: mallet or 
 tr i. MI. The intention of the artist Is not very clear. Tliescdate fro n about 
 
 Slra in the Berlin Museum. 
 FIG. 8. 
 
 or no tl f yln 
 
 and In the 
 lie Romish
 
 STUDIES IN MUSICAL HISTORY. 
 
 17
 
 !8 STUD/ES I\ MUSICAL HISTORY. 
 
 13. How many players are represented as belonging 
 to these ancient orchestras ? (See Fig. 1 .) 
 
 Figure 10 Is a lyre found In one of the tombs, now In the museum at Leyden 
 TheAyro was a favorite instrument in the time of the later empire. This pai 
 ticu^r instrument Is probably not many centuries older than the Christian era, 
 but the style shows the mode of construction practiced long before. 
 
 14. What instruments were used together? 
 
 ANCIENT HINDOO MUSIC. 
 
 1 . What is said of the appreciation of music in India 
 from early times ? 
 
 2. What especial interest for us has the musical his- 
 tory of India ? 
 
 3. What is said of the musical value of their instru- 
 ments of the bow family? (See Fig. 12.) 
 
 4. How is it supposed that the idea of the violin came 
 into Europe ? 
 
 5. What is the characteristic instrument of the Hin- 
 doo? 
 
 6. Describe the Vina? (See Fig. 11.) 
 
 7 . How was it play ed ? 
 
 8. How many modes had Hindoo musical theory ?
 
 STUDIES IN MUSICAL HISTORY. 
 
 FIG. 11. 
 
 The Vina is vory interestiiis on account of its great antiquity, vvliicli probably 
 readies back to more than 1000 years ]'.. C. The art of playing it lias now been 
 lost. The figure above is a portrait of Jiwan Chah, who lived at Calcutta, near 
 the close of the last century, anil was the last great master of this instrument. 
 The Vina is the characteristic Instrument of India, with which its higher cult- 
 ure of music is associated. It consists of a body of bamboo, with two large- 
 gourds for increasing the resonance. It has an elaborate apparatus of frets, 
 part of which are movable, in order to conform to the different scales of India. 
 The six strings were of silk. 
 
 9 . In what respect was the Hindoo drama like modern 
 opera ? 
 
 10. At what period was it developed ? 
 
 11. Into how many intervals did the Hindoo divide 
 the musical octaves ? 
 
 12. Were their intervals correct ? If not, why not ? 
 
 13. "What is said of their discoveries in Harmony? 
 
 14. What uses did they make of music ? 
 
 15. What is said of the players ?
 
 STUDIES IN MUSICAL HISTORY, 
 
 FIG. 12. 
 
 The Ravanastron Is a rude violin much used in all parts of the east India, 
 Ceylon, Slam, and by the Huddhcist monks in China. It consists of a syramoro 
 lnx with a parchment tup; through this a stick is thrust, and two strings or silk 
 arc laslened atiovc and below. It is lit- Id for playing in the same position as the 
 modern violoncello. This is probably the very oldest type of all Instruments 
 played with a bow. 
 
 ANCIENT GREEK MUSIC. 
 
 1. What was the earliest music among the Greeks of 
 which we have any account ? 
 
 '2. Of what kind were the songs of the Rhapsodists ? 
 
 3 . What was the Phorminx ? 
 
 4 . How many strings had it ? 
 
 5. What forms of music came later r
 
 STUDIES AV MUSICAL HISTOKT. 
 
 21 
 
 LYRE. CITHARE. 
 
 FIQ. 13. 
 
 Figure 13 shows the two principal instruments of the Greeks. The lyre, 
 which Ma<l the I'onii r a turtle shell with two horns, ami the ctthara. the im- 
 proved form of thr lyre, which was In use during the period of the Pericles 
 and th> j Imlliling of the 1'artheon. 
 
 6. What was the beginning of Greek musical theory? 
 
 7. What consonances did Pythagoras recognize ? 
 
 8. What important modern consonance is lacking 
 from this list ? (The third.) 
 
 9 . Did you ever hear any music without thirds and 
 sixths ? 
 
 10. Who was the first real observer of musical pheno- 
 mena in a musical way ? 
 
 1 1 . Who was Aristoxenos ? 
 
 1 2 . What great principle did he enunciate ? 
 
 13. Who was the last of the Greek musical theorists? 
 
 14. What instruments did the Greeks use in their 
 public performances ? 
 
 15 . What was the Aulos ? 
 8
 
 
 S /\ MUS/CAI. 
 
 . >.!rol 1'iniUi 11 
 
 F. A. (. 
 
 ' I'" -\l- "] - 
 EEEgEE=j=: * i m 
 
 riior-iiiii , A -]>ol- on - -- kai - i- 
 
 n 
 
 . . . 
 
 - 1)011 
 
 
 
 ' .1 r - k.i : 
 
 ^ 
 
 E I ' ' * 
 
 (l':i 
 
 1 
 
 
 ho-rohn lin-]>o - 
 
 
 :! 
 
 n - 11, 
 
 v 
 
 li - 711 - nir - . 
 
 ?=*- 
 
 
 
 ^n! 
 
 Tin- 
 ' . -oluir jiilch, 
 
 ,.,", 
 
 i. ;.il n! 
 li.ilv
 
 STL'D/ES /.V MCS/CA7. HISTORY. 
 
 EARLY CHRISTIAN MUSIC. 
 
 1 . What was the course and condition of music after 
 the period described in the study upon ancient (i reek 
 music? 
 
 To what was this decline in musical art due? 
 What influence had Christianity upon music-? 
 4. Whence did the early Christians derive the music 
 of their songs? 
 
 ">. What difference is here observed between ancient 
 and modern musical tonality? 
 
 6 . What cause contributed in this epoch to the modern 
 tendency toward the major tonality ? 
 
 7. What agency was most active in elevating and 
 developing the art of music for many centuries follow- 
 ing this period? 
 
 1. What circumstance prevented the free cultivation 
 of music during the first four centuries of the Christian era? 
 1. When was Christianity formally recognized by the 
 Roman state? 
 
 How did the adoption of Christianity by the 
 Roman authorities affect the art of music? 
 
 4. When did St. Ambrose begin to introduce his 
 reforms? 
 
 What great hymn did he coin; 
 
 6. How many modes iopt. and from 
 what were they derived? 
 
 7. How lung did th.- - a remain the source of 
 Christian music? 
 
 8. What characteristic did music acquire through 
 the efforts of St. Amb: 
 
 Mention his principal contributions to liturgica. 
 music.
 
 24 STUDIES IN MUSICAL HISTORT. 
 
 ST. GREGORY. 
 
 1. What was the course of music after the death of 
 St. Ambrose? 
 
 2. What new reformer arose to correct these abuses? 
 ;?. What special service to Christianity is accredited 
 
 to St . (In-gory? 
 
 4. What was the nature of St. Gregory's reform in 
 music? 
 
 a. I low many scales were added by St. Gregory, and 
 what were they called? 
 
 (5. What notes of our scales correspond to the Am- 
 brosian? 
 
 7 . Give the names of the Ambrosian modes and the 
 notes from which they are reckoned. (See Fig. 00.) 
 
 H. Give the names of the Gregorian modes and the 
 notes from which they are reckoned. (See Fig. 00.) 
 
 9. In what important respect do these differ from 
 our modern scales? 
 
 10. What church tunes have we derived from the 
 Gregorian melodies? 
 
 HUCBALD. 
 
 1. Who was Hucbald? 
 
 2. In what respect was lie in advance of other writers 
 upon music? 
 
 3 . Describe the two forms of musical notation em- 
 ployed by Hucbald. 
 
 4. What did the letters "S" and ' 1 II S" signify? 
 
 5. For what other service is he distinguished in the 
 history of music? 
 
 6. Define Diaphony.
 
 STUDIES IN ML'SICAL HISTORY. 25 
 
 7. What interval commonly used in modern harmony 
 is omitted in this combination? 
 
 8. What effect does this produce upon modern ears, 
 and in what manner is it rendered most noticable? 
 
 9. Why does a succession of these chords produce a 
 disagreeable effect, while "each separate chord sounds 
 well enough by itself?" 
 
 10. How may we illustrate the peculiar character of 
 this harmony? 
 
 11. What was meant by Orgoinim.' 
 
 12. What does it resemble? 
 
 13. In what respect does Orgnnum differ from Dia- 
 phonyf
 
 M'l'DIES IN MUSICAL HISTORY. 
 
 CLASS B. MEDIAEVAL MUSIC. 
 
 GUIDO. 
 
 1 . Who was Guido? 
 
 2. Wliat was Guide's position at Rome and under 
 whose patronage was he while thus engaged? 
 
 \ . Wherein consists his importance in musical history? 
 
 4. What is meant by sohnisation? 
 
 5. Of what had musical notation consisted for two 
 centuries or there about before Guide's lime? 
 
 6. From whence are uptimes" supposed to have been 
 derived? 
 
 7. Describe the general form of these characters. 
 
 8. How were "neumes" afterward emplo} r ed? 
 
 9. Of how many lines did the staff employed by 
 Guido consist? 
 
 10. Of the four lines of the staff employed by Guido, 
 which was green, which red. and for what purpose were 
 they thus distinguished? 
 
 1 1 . What other characters than " neumes" did Guido 
 sometimes use upon the degrees of his staff? 
 
 I > . What is here observed of the note-head? 
 
 I'!. How did Guido regard the succession of fifths as 
 'alight by Ilucbald? 
 
 11. What harmonic interval was Guido the first to 
 recognize as a permissible consonance? 
 
 MKDI.KVAI. SKCl'I.AK MUSIC. 
 
 1 . What are folk-songs? 
 
 From what source does this class of music spring? 
 3 . What were probably the earliest songs of this char, 
 acter?
 
 tl 
 
 Do\ 
 
 m,n,\ 
 
 p\ 
 
 tt sit \ oria/ in\ cula hitur Dominus in o / , n\ / 
 
 St. gl"/ Do\ ge/ \ ta/ ' b^$~ 
 
 t J / rr.mi\ Ue / pe \~ 
 
 sil\ or 
 
 i"\ Cula -biiur Pommus mo/ ri \ / 
 
 SJ glo/ 
 tJ 
 
 sae / \ ta / 
 
 Do \ 
 
 / mm. \ 
 
 pe\ su \ 
 
 t I iit\ oris/ in\ cula biiur Dominui mo/ n \ / 
 
 SP glo/ DoA sae/ \ t.i / bu7 
 
 mini \ Ue / 
 
 su\ 
 
 t "i sit \ ori 
 Sy glo/~ 
 
 in \ cula bitur Dtiminus in o / ri \ / 13 
 
 sae/ \ u / b^ 
 
 lae/ 
 
 No. 132. Polyphonic Notation of Hucbald. 
 
 ^ 
 
 Sit glo 
 
 ri - a Do - mi - ni in sao ca - la lae- 
 
 
 ta bi tur Do mi nus in o - pe - ri bus su - is. 
 
 1 1- 
 
 Deciphrring o^ abov 
 Kis- Ot)0. 
 
 Tlie above exaili;>lt illustrates tlie staff proposed 1>> Hucbald. and th mauiRT 
 In wliidi he \vrnte hli- fainoiH <>n;anitiii. The syllahles are placed in tlie M 
 according to Uia pitch lnten<le<1 Tlie initials T and 8 at the beginning show- 
 where the "tones" and semitones" occur.
 
 STUDIES IN MUSICAL 1USTO1U 27 
 
 4. What conditions promote activity in this depart- 
 ment of music? 
 
 5 . Mention some of the best known songs of this class. 
 
 6. What is the difference between the music of the 
 mediaeval epics and the modern popular ballad? 
 
 7. Where did the most beautiful melodies of this class 
 have their origin? 
 
 8. What class of melodies best illustrate the excellent 
 points in the folk music of the British Isles? 
 
 9 . In what respect do the folk-songs of England and 
 Germany differ from each other? 
 
 10. Why is this class of music peculiarly perishable? 
 
 11. What influence has the folk-song exercised upon 
 musical composition? 
 
 12. Mention an instance where the works of a great 
 master acquire a peculiar charm from these melodies. 
 
 FRANCO. 
 
 1 . In what respect is Franco of Cologne celebrated in 
 the history of music? 
 
 2. What is meant by mensural music? 
 
 3. About what time were note heads introduced by 
 Franco of Cologne? 
 
 4. What was the name given to the note selected as 
 unit? 
 
 5. What was its form? 
 
 6 . How was double the length of this unit note indi- 
 cated? 
 
 7. In what respect did his application of the stem 
 differ from that of the present time? 
 
 8. What was the longest note employed by Franco of 
 Cologne called?
 
 28 STUDIES IN ML'SICM. HISTORY. 
 
 How was its length indicated? 
 
 10. How was the half note indicated: 
 
 11. Wltat modifications in these note forms did the 
 N'etheiland masters introduce soon after Franco? 
 
 \'l. For what were liars first u-ed? 
 l.'i. What did Franco of Paris contribute to music? 
 1 1. (Jive his classification of the consonances. 
 1."). (Jive his classification of the di-^onances. 
 16. What new theory did Franco of Paris introduce 
 tlie use of dissonances? 
 
 DUFAY. 
 
 1. How many period- are there in the history of the 
 Netherland school? 
 
 2. What masters are named as prominent representa- 
 tive's of these four periods? 
 
 3. ' What was the condition of music in the first epoch 
 and what were its characteristic 
 
 1. Who founded the Netherland school? 
 5. What is stated of Dufay's life and character? 
 >'. In what works are w.- furnished with a knowledge 
 of Dnfay's mii-ic: 
 
 7. What note character was Dufay the first to em- 
 ploy? 
 
 8. What is the character of Dufay's compositions? 
 
 9. Of scientific skill and emotional expression which 
 was held in hkrhest e-timation at this time? 
 
 10. For what number of voices were his works gen- 
 erally written? 
 
 11. Did the fugal style exist at this period?
 
 STUDIES AV MUSICAL HISTORY. 29 
 
 OKEGHEM. 
 
 1 . Name the principal master of the second epoch of 
 the Xetherland school. 
 
 2. With whom did he study music? 
 
 3. When was he a member of the choir at Antwerp? 
 
 4. When did he join the royal choir at the court of 
 France? 
 
 5. How long did he remain in the service of the court 
 of France? 
 
 6. Name his most talented pupil and greatest succes- 
 sor. 
 
 7. What is the style, of his works and in what way 
 do they differ from those of his teacher, Dufay? 
 
 3. For what number of voices were most of Okeg- 
 hem's works written? 
 
 9. What exception is here instanced? 
 
 10. What was Josquin des Pres' rank as a musician? 
 
 11 . What important apoointment did he receive from 
 Pope Sextus IV? 
 
 12. How was Josquin regarded by his contemporaries? 
 
 13. In what important respect does Josquin 's style 
 differ from that of his predecessors? 
 
 14. What was the rank of Adrian Willaert? 
 
 15. Of what great school was he the founder? 
 
 16 . What important position did he occupy in Venice? 
 
 1 7 . What great musical theorist was among his pupils? 
 
 18. With whom did Nicholas Gombert study the art 
 of music? 
 
 19. What reason is here assigned for tin- meager re- 
 cords of the career of Gombert? 
 
 20. Of what do his existing works mainly consist. 
 
 21. To what position did he finall}- succeed?
 
 30 STUDIES IN MUSICAL HISTORY. 
 
 MARTIN LUTIIEU. 
 
 1. I Mine the principle of individualism? 
 
 2. In truatdepartment of music was Luther most active? 
 
 Mention his most celebrated production. 
 
 1 . What is a chorale? 
 
 A. To what kind of hymns were the chorales of Lu- 
 ther set? 
 
 (5. What is the advantage of retaining a good melody 
 for the service of a particular hymn instead of using it 
 interchangably with any hymn of the same meter as is 
 done in this country? 
 
 7. IIovv have these chorales of Luther been treated by 
 later composers? 
 
 8. What wa> Luther's estimation of music? 
 
 '.'. Mention one of Luther's most celebrated hymns. 
 
 10. Is the chorale confined to the service of the Pro- 
 testant church? 
 
 1 1 . What is the present condition of the German 
 chorale? 
 
 <>K1,ANI>0 LASSUS. 
 
 1 . At what age did Lassus give proof of his superior 
 musical abilities? 
 
 2. When did he first visit Rome and what appoint- 
 ment did he secure? 
 
 3. Where did his career as a composer begin? 
 
 4. What objectionable tendency of style peculiar to 
 the earlier masters of the Netherland school did Lassus 
 completely overcome? 
 
 '. What is the rank and character of his works? 
 
 6. Where and in whose service did he engage after 
 leaving Antwerp? 
 
 7 . In what esteem was Lassus held by bis royal patron ?
 
 STUDIES IN MUSICAL HISTORY. 31 
 
 8. What is the total number of Lassus' works still in 
 existence? 
 
 9 . What is said of the versatility of his genius in com- 
 position? 
 
 10. Mention his greatest work. 
 
 1 1 . What position does he occupy in relation to the 
 Netherland masters? 
 
 12. What two principles was he the first to recognize 
 and employ? 
 
 PALESTUINA. 
 
 I . At what date is Palestrina known to have been 
 studying music at Rome? 
 
 2 To what position was he appointed in 1551? 
 
 3 . In what respect did Palastrina's fortune differ from 
 that of Lassus'? 
 
 4. With whom did he study? 
 
 5. Of what important school was he the first and 
 greatest composer? 
 
 6. What was his first work and when was it composed? 
 
 7 . To whom was it dedicated and with what result? 
 
 8. For what eminent service is Neri distinguished in 
 the history of musical art? 
 
 9 . How did Palestrina rank as a composer of church 
 music? 
 
 10. For what qualities are his works remarkable? 
 
 II. Mention his most important work. 
 
 12. What was the condition of church music at the 
 time the Mass of Pope Marcellus was written and what 
 did it demonstrate? 
 
 13. How does this work rank with other musical pro- 
 ductions of the sixteenth century?
 
 32 STUDIES /.V MTSICAL HISTORY. 
 
 1 I. \Vhat other important works did Palestrina pro- 
 duce? 
 
 15. To what class of music did Palestrina almost ex- 
 clusively devote himself? 
 
 16. In what respects does he excell all other ecclesias- 
 tical composers?
 
 STUDIES 7.Y MUSICAL HISTORY. 
 CLASS C. OPKRA. 
 
 < HAKA(TKKl/.vnoX OF OPERA. 
 
 1. What is the legitimate object of the opera? 
 
 2. In what respect does the opera differ from the or- 
 dinary drama? 
 
 .">. What purpose is served by the Recitative? 
 
 4. What is expressed in the Arias? 
 
 5. What is expressed in the Ensembtes and Choruses? 
 
 6. Name the three principal elements of the opera: 
 
 7. Were the lirst operas intrinsically valuable or were 
 they merely experimental? 
 
 8. Which of the three elements, recitative, aria or 
 chorus, was most prominent in Peri's Kurydice? 
 
 !). What three great national schools of opera are 
 here mentioned? 
 
 10. What is the most prominent difference between 
 ( ierman and Italian opera? 
 
 11. Describe the general character of French opera. 
 
 12. Describe the writer's ideal of opera. 
 
 l.'J. What great composer endeavored to embody all 
 these qualities in his works? 
 
 HKFIXITIOX OF (.H'AUTIKS oF OI'KKA. 
 
 1. Of what two qualities does a libretto (or opera 
 
 text) primarily consist? 
 
 '2. What is meant by "musical fitness?" 
 
 :i. What is meant by "dramatic opportunity?" 
 
 4. What four qualities form the basis of criticism in 
 
 the vocal music of the opera?
 
 34 STUDIES IN MUSICAL HISTORY. 
 
 5. What is the importance of " spontaneity " as an 
 element of music? 
 
 6. What impression does spontaneity create in the 
 mind of the listener? 
 
 7. What is meant by "elaboration?" 
 
 8. What is meant by ''dramatic fitness?" 
 
 9. What is meant by "adaptation to voice?" 
 
 10. Of what two elements does the orchestration pri- 
 marily consist? 
 
 11. What is meant by "beauty of tone color?" 
 
 12. What is meant by "dramatic strength?" 
 
 13. What is meant by "scenic demands?" 
 
 EURYDICE, BY PERI. 
 
 1. What is said of Peri's parentage? 
 
 2. For what is Peri distinguished in the history of 
 music? 
 
 3. Under whose patronage was the first opera pro- 
 duced and upon what was it founded? 
 
 4. Of what style of music did the origin of the opera 
 mark the beginning? 
 
 5. Upon what occasion was Eurydice produced? 
 
 6. Who wrote the libretto for this opera? 
 
 7. What other name is associated with Peri's in the 
 composition of the music of Eurydice? 
 
 8 In what manner was the music chiefly rendered. 
 9. What accessories were introduced in these early 
 operas?
 
 STUDIES /\ MfS/CM. I IIS mm'. :;', 
 
 TANTKEDI IJV MONT 
 
 1. What chords was. Montevorde the first to introduce 
 in his music? 
 
 2. What school of music was Montevcrde the first to 
 supersede? 
 
 3. What was the effect upon music of Monteverde's 
 opera ''Orfeo?" 
 
 4. How many instruments were introduced in the 
 orchestral score to "Orfeo," and of what was this the 
 beginning? 
 
 5. What was the importance of the orchestra in 
 "Taneredi?" 
 
 6. What important orchestral effects were introduced 
 for the first time in this work? 
 
 7 . What is Monteverde's rank in the history of opera? 
 
 AKMi;>K 15V l.ULLI. 
 
 1. Of what important school of opera w.-is Lulli the 
 founder? 
 
 2. Mention some of Lnlli's characteristics MS a musi- 
 cal coin ><>ser. 
 
 3. From what was the French opera evolved? 
 
 4. What form of overture did Lulli invent? 
 
 .">. To what kind of effects is the music of Lulli's 
 operas especially adapted? 
 
 (!. Of what fact relating to Italian o|>ora does Armide 
 afford a striking illustration? 
 
 7. To what subjects was the old school of French 
 opera characteristically devoted? 
 
 IIV SCAKi.ATTI. 
 
 1 . What was Scarlatti's rank as a composer? 
 
 2. In what department of music did he most excell? 
 
 3. How many operas did Scarlatti compose? 
 4
 
 36 
 
 STUDIES IN MUSICAL HISTORY. 
 
 4. What exceptional qualifications did he possess? 
 
 5 . What was the result of the recent production of 
 sonic of his works in Italy? 
 
 (). In what particulars did Scarlatti surpass his prede- 
 cessors? 
 
 7. What important device, now in common use, was 
 Scarlatti the first to introduce? 
 
 ORPHEUS BY GLUCK. 
 
 1 . In what respect does Orpheus differ from all ear- 
 lier operas? 
 
 2. What actuating idea relative to the opera did 
 Gluck conceive and from what observation was it de- 
 rived? 
 
 3. What did Gluck 's ideal contemplate and how did 
 he regard the prevailing style? 
 
 4. To what rank did Orpheus assign its composer? 
 
 5. What prevailing evil did Gluck successfully op- 
 pose? 
 
 6. What other great composer has performed similar 
 service for the elevation of the opera? 
 
 7 . What great composers of instrumental music are 
 here accredited with having contributed to the develop- 
 ment of the opera? 
 
 8 . What prominent excellences does Orpheus possess? 
 
 9. In what scene is Gluck 's ability as a dramatic 
 writer most forcibly demonstrated? 
 
 10. What two qualities of the music are rated highest 
 in the scale of valuation?
 
 STUDIES IN MUSICAL HISTORY. 37 
 
 DON GIOVANNI BY MOZART. 
 
 1 . By whom WHS the libretto of Don Giovanni writ- 
 ten, and from what adapted? 
 
 2. What is said of the subject upon which Don Gio- 
 vanni is founded? 
 
 3. With what result was the work iirst presented? 
 
 4. How was this opera regarded for some time after 
 its production? 
 
 5. What excellence-; secured for the work such a 
 high degree of favor? 
 
 6. What is said of the music of this opera as com- 
 pared with its dramatic features? 
 
 7. How did this work compare in dramatic quality 
 with Ovher works of that period? 
 
 8. What two qualities of the music are rated highest 
 in the scale of valuation? 
 
 FIDELIO BY BEETHOVEN. 
 
 1 . What number of operas did Beethoven com: 
 
 2. Upoa what was Fidelio founded? 
 
 3. Give an outline of the incidents of the plot. 
 
 4. Of the musical and dramatic quality of the work, 
 which is most excellent? 
 
 5. What probable cause is assigned for the inferiority 
 of this work in comparison with Beethoven's purely 
 musical compositions? 
 
 6. To what considerations in the composition of this 
 work did Beethoven evidently give most attention? 
 
 7 . What two qualities marked highest in the scale of 
 valuation afford evidence of this?
 
 STUDIES /.V MUSICAL HISTORY. 
 
 PER FKEISCHl'ET/: BY WEBER. 
 
 1. What great distinction has been awarded Weber's 
 Per Freischuetz: 
 
 2. "What later composer successfully contested the 
 claims of Der Freisehuetz to be regarded as the greatest 
 representative German opera? 
 
 3. Give an outline of the incidents of the plot? 
 
 1 . What is the character of the overture to this work: 
 .">. What phase of character peculiarly adapted for 
 
 dramatic treatment in opera was first introduced in this 
 
 work? 
 
 6. In what other opera of the series here presented is 
 the Mephistopheles character prominently exhibited? 
 
 7. What quality in this work, aside from the text, 
 has secured the highest rating in the scale of valuation? 
 
 WILLIAM TELL BY ROSSINI. 
 
 1 . Where was Rossini born and where educated? 
 
 2. Mention some of his greatest works. 
 
 3. What mark of popular favor did the Parisians 
 bestow upon Rossini on the occasion of the 500th per- 
 formance of AVilliam Tell, and when did this event occur? 
 
 4. To what did Rossini devote himself after this 
 period? 
 
 5. Where is the action in this opera laid? 
 
 6. What are the most notable beauties of this opera? 
 
 7 . What qualit}' of the music in the scale of valuation 
 is rated highest? 
 
 8 . What quality of the orchestration is marked lowest? 
 
 9. What distinction , when contrasted with Weber '_< 
 Der Freisehuetz, does this suggest between French and 
 German opera?
 
 STUDIES IN MUSICAL HISTORT. 39 
 
 LUCIA DI LAMMERMOOR i;V DOHIZETTI. 
 
 1. How many operas did Donizetti produce? 
 
 2. What characteristic in the effort of composition is 
 Donizetti said to have possessed? 
 
 3. How does this opera rank among other works of 
 its author, and what position does it sustain upon the 
 operatic stage? 
 
 4. What feature of the work is said to be unsurpassed, 
 and in what does its beauty consist? 
 
 "). From what was the libretto of this work adapted? 
 
 6 . What scene is especially referred to as being highly 
 dramatic? 
 
 7. What other features of excellence are mentioned 
 in the text? 
 
 8. What two qualities are rated highest in the scale 
 of valuation? 
 
 9 . In what three particulars , according to the quali- 
 tative analysis, is the work most deficient? 
 
 THE HUGUENOTS BY MEYEKBEEE. 
 
 1 . Upon what historical event is the plot of this opera 
 founded? 
 
 2. What celebrated song occurs in the first act? 
 
 3. AVhere is the scene of the second act laid, and 
 what are its prominent features? 
 
 4. What is the character of the third act? 
 
 5. Where does the fourth act take place? 
 
 6. What celebrated piece of music is rendered in the 
 fourth act, and what is its character? 
 
 7 . What tragic episode occurs in the fourth act? 
 
 8. To what is the fifth act devoted?
 
 10 STUDIES IN MUSICAL HISTORY. 
 
 9. What is said of the score of this work? 
 
 10. What quality of the libretto is rated highest in 
 the scale of valuation. 
 
 1 1 . What quality of the orchestration is rated low- 
 est. 
 
 12. What characteristic of the composer does this in- 
 dicate. 
 
 F.UST 1!Y (iOUNOD. 
 
 1 . How many acts has this opera? 
 
 '2. With what is the first act concerned? 
 
 3. With what does the second act open? 
 
 I. What famous song is rendered in the second act? 
 T>. What is the closing feature of the second act? 
 
 T>. What celebrated scene occurs in the third act? 
 
 7 . What two great songs are rendered in the third act 
 and by what characters? 
 
 8. What is said of the "love music" rendered in the 
 final scene of the third act? 
 
 9. What great scene occurs in the fourth act? 
 
 10. What two prominent features of this act are 
 mentioned in the text? 
 
 II . Where is the final act laid? 
 
 1 '2 . What pathetic scene occurs in the last act and 
 what is the character of the music? 
 
 13. What two features have contributed most to the 
 success of this work? 
 
 14. What qualities are rated highest in the scale of 
 valuation? 
 
 i.~>. What quality is rated lowest. 
 
 A1DA ]!Y VKKDI. 
 
 1 . What four famous operas had Verdi written be- 
 fore he was commissioned to compose Aida?
 
 STUDIES IN MUSICAL HISTORY. \ \ 
 
 2. From whom was the commission for this work re- 
 ceived? 
 
 3 . What is said of the magnitude and expense of its 
 production? 
 
 4. In what respect is this opera especially unique? 
 
 5. What peculiarity of the music is mentioned? 
 
 6. In what way has Verdi departed from his former 
 course in the composition of this work? 
 
 7 . In what respect does this opera correspond to the 
 German ideal? 
 
 8. What more recent work of Verdi is said to excel 
 Aida? 
 
 9 . What valuation has been assigned to the qualities 
 of the Text? 
 
 10. What element of the music is rated lowest in the 
 scale of valuation? 
 
 1 1 . What qualities of the opera have secured the 
 highest valuation? 
 
 TRISTAN AND ISOLDE BY WAGNER. 
 
 1. In what respect is Tristan and Isolde the author's 
 most remarkable work? 
 
 2. What did Wagner seek to realize in the composi- 
 tion of this opera? 
 
 3. How did this work compare with existing models? 
 
 4. Characterize the emotional quality of this work 
 in the language of the text. 
 
 5 . What is said of its musical structure? 
 
 6. What is asserted in the opening phrase of tin- pre- 
 lude? 
 
 7 . How is the opera regarded as a whole? 
 
 8. How does it rank among the operas presented in 
 this series?
 
 42 STUDIES AV MUSICAL J/ISTOItl'. 
 
 CLASS D. ORATORIO. 
 
 N <>K orAUTlKS AND CHAilA<TKRIZATIOX OF 
 ORATORIO. 
 
 1 . Wliat is an Oratorio? 
 
 ~2 . In what respect *loes the Oratorio differ from the 
 Op ra? 
 
 :>. From what is tlie word "Oratorio" derived? 
 
 1. To what purpose; were the earliest oratorios pre- 
 
 ted? 
 
 .") . Who was Kmilio C'avaliere? 
 <!. What was the trie of his work: 
 
 7. In what do:-s its value consist? 
 
 8. What was the intrinsic character of the work? 
 
 ( J. From what, any its dependence upon the antique 
 ideal be inferred? 
 
 10. What was the character of the oratorios which 
 followed this? 
 
 1 1 . With what motive were they produced? 
 
 12. What prominent .-haracters in the history of 
 music were identified with the second stage of the devel- 
 opment of the oratorio? 
 
 13. What were Bach's contributions to this form of 
 musical art? 
 
 1 1 . What subject was usually selected for presents-- 
 lion by the German masters? 
 
 15. In what respect does Handel's Messiah show a 
 divergence from the works of other German masters of 
 that period? 
 
 16. Toward what ideal did this divergence tend? 
 
 17. What is said of the character of Haydn's Crea- 
 tion as contrasted with those earlier works?
 
 STUDIES IN MUSICAL HISTORY. 43 
 
 18. What oratorios presented in these studies mark a 
 still further divergence toward the pleasing element? 
 
 19. What are the primary qualities of the text of an 
 oratorio? 
 
 20. Of what other qualities does the oratorio prima- 
 rily consist? 
 
 REPRESENTATION OF THE SOUL AND THE HODY I'.Y CAVALIERE. 
 
 1. In what respect is this work of great historical 
 importance? 
 
 '2. What other form of musical art had its origin in 
 the same year as Oratorio? 
 
 .'). What is observed of the points of resemblance 
 and difference between the tirst oratorio and the first 
 opera? 
 
 -1. In what respects were they similar? 
 
 p. What accessory was employed in this primitive 
 oratorio not admitted in later works of this form? 
 
 (i . To what subject was the opera oriu nail y devoted. 1 ' 
 
 7. I'pon what was the oratorio founded. 
 
 8. What were the characters of the moralities" and 
 early oratorios and what did they represeir? 
 
 9. How were these characters mr.de to progress? 
 
 10. What was the play intended to convey? 
 
 1 1 . Where were the first, performances of the oratorio 
 given? 
 
 12. By whom were these early prese .!:.' ions of ora- 
 'arios given, at what season and with what motive? 
 
 13. What two qualities enumerated in the scale of 
 valuation were entirely absent in this work? 
 
 11. What valuations are given to beauty" and "in- 
 strumentation" in the scale of qualities? 
 
 15. What was the general impression of this work 
 upon the listener?
 
 ,s/Y/V/-;.S /.Y MCS/CAL HISTORY. 
 
 4. What numbers of the work best represent its 
 
 rharacleristie beauties of melody and harmony? 
 
 ."). Characterize the impression conveyed by this 
 work in contrast with more modern productions, using 
 the language of the text . 
 
 6. How does the Creation rank in evidences of tech- 
 n ic.-! knowledge and skill? 
 
 7. What realistic effects are attempted in the work 
 and how may they be regarded in comparison with mod- 
 ern musical portrature? 
 
 8. What quality is rated highest in the scale of val- 
 uation? 
 
 9. What quality is rated lowest? 
 
 10. What is the general impression of the work upon 
 the listener? 
 
 ELIJAH BY MENDELSSOHN. 
 
 1 . Under whose direction was Elijah first produced? 
 
 2. What biblical scenes are treated in this work? 
 
 3. Give Mendelssohn's conception of the prophet 
 Elijah in his own language as presented in the text. 
 
 4. Mention three of the most beautiful solos con- 
 tained in the work. 
 
 5. What is the title of the "angel trio?" 
 
 6. Mention the most important choruses. 
 
 7. What scene is referred to as being especially dra- 
 matic? 
 
 8. Describe the scene containing "Holy, holy is God 
 the Lord." 
 
 What is the general impression produced by this 
 work upon the listener?
 
 STUDfES J.\' .\/rs/CAL HISTORY. 4? 
 
 CHRIST OX T:iii MOUNT OF OGIVES BY BEETHOVEN. 
 
 1. ILw many oratorios did Beethoven write? 
 
 2. To \vh:\' period of Beethoven's artistic life does 
 
 this work belong? 
 
 '.\. What, is the musical quality of the work? 
 
 1. What was the character of the libretto? 
 
 .">. How many voices does the libretto introduce and 
 to what characters do they belong? 
 
 6. By what character is the first recitative and Aria 
 rendered and what is its title and character? 
 
 7. What trio follows the due* between Jesus and the 
 Seraph and what is its character? 
 
 *. \Viiat number is regarded n* the one grand feature 
 of the entire work? 
 
 9. How does this chorus compare with other exist- 
 ing works of its class? 
 
 10. What other feature of the work is characterized 
 as "beautiful and impressive." 
 
 11. What attempts have been made to render th^ 
 work less objectionable. 
 
 12. Which of these attempts i- mentioned and in 
 what did it result? 
 
 13. What quality is rated lowest in the scale of valu- 
 ation? 
 
 14. What is the general impression of the music upon 
 the listener? 
 
 THE LAST JUDGMENT BY SPOHR. 
 
 1 How many oratorios did Spohr write \ipon this 
 theme? 
 
 2. When was the first of these produced and with 
 what result?
 
 48 STUDIES IN MUSICAL HISTORY. 
 
 3. When and from whom did he receive the com- 
 mission to write the work here treated? 
 
 4. What is said of the appropriateness of the title? 
 
 5. With what is the oratorio opened? 
 
 I) . What is the title and character of the first chorus? 
 
 7. What two choruses follow the one entitled, 
 Praise His Awful name?" 
 
 H. What descriptive recitative, quartet and chorus, 
 bring the first part to a close? 
 
 9. With what does the second part open? 
 
 10. What beautiful duet occurs in the second part. 
 
 11. What two choruses occur in the second part and 
 what is their character? 
 
 12. What is the comparative rank of this oratorio? 
 
 13. What class of sacred music does it closely 
 resemble? 
 
 14. What is the general impression of this oratorio 
 upon the listener? 
 
 15. What qualities of the music are rated lowest in 
 the scale of valuation?
 
 STUDIES AV MUSICAL HfSTORT. 49 
 
 CLASS E. SYMPHONY. 
 
 DEFINITION OF QUALITIES AND CHARACTERIZATION < K THE 
 SYMPHONY. 
 
 1. What was the term symphony first used to desig- 
 nate? 
 
 2 . From what class of music was the quartet evolved? 
 
 3. Through what means did the symphony attain 
 independence as an instrumental form. 
 
 4. With what was its earlier development synchro- 
 nous? 
 
 5 . How does the Symphony compare with the Sonata 
 in form and in the conditions of its origin and develop- 
 ment? 
 
 6. What two classes of pictorial art illustrate the 
 relative importance and character of the Sonata and 
 Symphony? 
 
 7. In what wa}^, according to this analogy, does the 
 Symphony excell the Sonata? 
 
 8. In what spirit was the Symphony conceived? 
 
 9. With whom does the Symphony reach its highest 
 development and purest form? Recite the quotation froir 
 Beethoven . 
 
 10. What did Haydn contribute toward the devel- 
 opment of this form of musical art? 
 
 11 . What did Beethoven contribute to the Symphony? 
 
 12. Who were Beethoven's three greatest successors 
 in the treatment of this form? 
 
 13. What composers of the romantic type have ex- 
 celled in the composition of Symphonies? 
 
 11 . What is meant by "formal beauty?" 
 15. What is meant by "originality?"
 
 TN MCS/CAL 
 
 16. What is meant by - thematic work?" 
 
 17. What is meant by expressiveness?" 
 is. What is meant by "orchestration?" 
 
 1!). I'pon what does the -pleasing quality" of a work 
 depend? 
 
 SYMPHONY BY" MO/ART. 
 
 1 . With what is the form of the symphony identical? 
 
 2. Jn what three works did the form of the sym- 
 phony culminate: 
 
 3. Why is the name ''Jupiter" appropriately applied 
 to this work? 
 
 4 . By whom was the orchestral symphony developed? 
 o. What works furnished the model for the orches- 
 tral symphonies of Haydn? 
 
 6. Mow many symphonies did Haydn compose? 
 
 7. In what manner did he spend most of his musical 
 life? 
 
 8. What advantages or disadvantages resulted from 
 the limited resources of Haydn's orchestra? 
 
 9. What advantages had Mozart over Haydn as a 
 composer of symphonic: 
 
 10. In what respects did Mozart surpass Haydn as a 
 result of these advantages? 
 
 1 1 . What degree of development was reached in the 
 " Jupiter " symphony? 
 
 12. What excellence does the " Jupiter " symphony 
 possess which has never been surpa>sed even by Beet- 
 hoven? 
 
 13. What other excellences does this work possess in 
 an eminent degree? 
 
 14. What two qualities are rated highest in the scale 
 of valuation?
 
 STUDIES 7;V MUSICAL HISTORY. 51 
 
 FIFTH SYMPHONY IN C MINOR BY BEETHOVEN*. 
 
 1 . When is it supposed that, Beethoven first conceived 
 the ideas contained in this work? 
 
 2. What other symphony was finished in the year 
 1808? 
 
 3. What is said of the popularity of the " fifth sym- 
 phony?" 
 
 4. What four notes form the characteristic and im- 
 pressive motive of this work? 
 
 5. In what words did lUvthoven express the mean- 
 ing of these tones? 
 
 6. To what does Sir George Grove attribute the 
 greatness of this work? 
 
 7. Characterize the work in the language of this emi- 
 nent writer as quoted in the text. 
 
 8. What thoughts are suggested by the first allegro? 
 
 9. What is the emotional character of the andante? 
 
 10. What impression is conveyed by the scherzo? 
 
 1 1 . What is the nature and effect of the finale? 
 
 12. Give the final characterization of the work in the 
 language of the text. 
 
 13. What does the qualitative analysis indicate? 
 
 (See Manual of Music, page 195 .) 
 
 SCOTCH SYMPHONY IN A MINOR BY MENDELSSOHN. 
 
 1 . From what did Mendelssohn derive the impres- 
 sions which resulted in the composition of this symphony? 
 
 2. What other work resulted from the same experi- 
 ence? 
 
 3. What two celebrated overtures had Mendelssohn 
 produced at the age of twenty? 
 
 4. Of what peculiar talent did these works give evi- 
 dence? 
 
 5
 
 r -:.S /.V MUSICAL HISTORY. 
 
 5. What is said of the dramatic force of Mendels- 
 sohn's works? 
 
 6. What is said of the lyric element in his composi- 
 tions? 
 
 7. How does Mendelssohn rank as a master of Form 
 in musical composition? 
 
 8. With what does the first movement of this sym- 
 phony open and close? 
 
 9. What is the form of this movement? 
 
 10. With what does the second movement open and 
 by what instrument is it rendered? 
 
 11. What follows the opening of the second 
 
 12. What is said of the character and treatment of 
 the second movement? 
 
 13. What is the introduction to the finale? 
 
 14. What great English national song is introduced 
 in flu- tinale? 
 
 15. What effect has this innovation upon the finale? 
 l(j. To whom was this work dedicated? 
 
 (See Manual of Music, page 355 .) 
 
 SYMPHONY IN C MAJOR BY SCHUBERT. 
 
 1. In what respect was Schubert an exceptional 
 genius? 
 
 2. What two characteristics in his works result from 
 this continuous and inexhaustible flow of ideas? 
 
 3. In what respect does he materially differ in style 
 from Mendelssohn? 
 
 4. Which of Schubert's compositions best illustrates 
 these characteristics? 
 
 5. What is the first movement of this symphony? 
 
 6. What is the character of the introduction?
 
 STUDIES IN MUSICAL HISTORY. 53 
 
 7. In what number of measures and by what instru- 
 ments is the introduction announced? 
 
 8. Describe this part of the work in the language of 
 the text. 
 
 9. By what instruments is this melody successively 
 taken up and how treated? 
 
 10. To what theme does this beautiful melody finally 
 lead? 
 
 11. What is the character of the allegro movement? 
 
 12. Describe the character of the next three move- 
 ments in the words of the text. 
 
 13. What length of time is required for the perform- 
 ance of this work? 
 
 14. How did Schumann regard this symphony.' 
 
 15. What two qualities are rated highest in the scale 
 of valuation? 
 
 DANCK (IK DEATH BY SAINT SAKNS. 
 
 1. What is the character of the scene portrayed in 
 this symphony? 
 
 2. To what style or class of music does this work 
 properly belong? 
 
 3. What does Saint-Saens say of ' ; program music?" 
 
 4. Describe as nearly as possible, without quoting the 
 text, the incidents of the scene suggested by this com- 
 position. 
 
 5 . What two qualities are rated highest in the scale 
 of valuation? 
 
 0. In what elements is this symphony inferior as a 
 work of art in comparison with recognized standards? 
 See Manual of Music, page 500.
 
 54 STUDIES IN MUSICAL HISTORY, 
 
 !.!> I'KKUnKS, BY LISZT. 
 
 1 . What is the difference of form between a sympho- 
 nic poem and a regular symphony? 
 
 2. In what respect does the ideal of the symphonic 
 poem differ from Ihat of the symphony? 
 
 3. Of what style of music was the Les Preludes one 
 of the first compositions? 
 
 4. From what did Liszt derive the impressions which 
 characterize this work? 
 
 5. Repeat the entire quotation from "Meditations of 
 Lamartinc" in the language of the text? 
 
 6. Characterize this work in the closing words of the 
 text? 
 
 7. What valuation is assigned to the quality of -'ex- 
 pressiveness?" 
 
 8. What quality is rated lowest and what is the 
 valuation assigned to it? 
 
 "OXFORD" SYMPHONY. KV HAYDN. 
 
 1. What is Haydn's relation to the development of 
 the symphony? 
 
 2. What is the importance of the symphony as a 
 type of instrumental music? 
 
 3. When did Haydn produce his first musical com- 
 position? 
 
 4 When did Haydn produce his last musical work? 
 
 5 How many symphonies did Haydn compose? 
 
 6. What is Haydn's relation to the development of 
 instrumentation? 
 
 7. What meaning for Haydn had the different in- 
 struments of the orchestra. (Repeat the quotation given 
 in the text) .
 
 STUDIES IN MUSICAL HISTORY. 55 
 
 8. From what circumstance did the "Oxford" de- 
 rive its name? 
 
 9. How many movements does the work contain 
 and by what are they preceded? 
 
 10. What is the general character of the work? 
 
 1 1 . What is said of the different movements? 
 
 12. What is the general impression of this symphony 
 upon the listener? 
 
 13. What characteristic of Haydn is manifest in this 
 work? 
 
 14. What is said of the subjects chosen by Haydn 
 for this work and of their treatment?
 
 56 STUDIES IN MUSICAL HISTORY. 
 
 CLASS F. CONCERTO. 
 
 HKFINIT1ON OF QUALITIES AND CHARACTERIZATION OF 
 CONCERTO. 
 
 1 . What does the term " concerto " imply? 
 
 2. What is a concerto? 
 
 3. If the intention of the concerto, as stated in the 
 text, be fully carried out, what impression will the list- 
 ener receive? 
 
 4. What consideration has actuated the selection of 
 the concertos presented in these studies? 
 
 5 . What is the form of the concerto? 
 
 6. What is the difference between the concerto and 
 the sonata? 
 
 7. From what class of music was the concerto 
 evolved and in response to what desire? 
 
 8. By what class of musicians were the earliest con- 
 certos written? 
 
 9 . For what were the earliest virtuoso distinguished 
 aside from their service as executants? 
 
 10. Wli at was the result of the efforts of early vir- 
 tuoso in composition? 
 
 11. Why was the result, from a musical standpoint, 
 more favorable under these conditions than under those 
 which exist at the present time? 
 
 1 2 . Mention one of the earliest composers in this form . 
 
 13. Who was Corelli and when did he flourish? 
 
 14. By what successor of CorelH was the concerto 
 lirought to greater perfection? 
 
 15. What is said of Bach's activity in this depart- 
 ment of musical composition? (See analysis of Back's 
 Italian Concerto, Manual of Music, page 80.)
 
 STUDIES IN MUSICAL HISTORY. 57 
 
 16. What is said of the concertos of Mozart? 
 
 17. What is the first condition of a successful con- 
 certo according to the text? 
 
 18. What is the second condition upon which a con- 
 certo depends for its success? 
 
 19. What is the third condition of excellence? 
 
 20. Which concerto of the present list best exempli- 
 fies these principles? 
 
 21. What two others come next in rank? 
 
 EMPEROR CONCERTO BY BEETHOVEN. 
 
 1 . How many concertos for piano and orchestra did 
 Beethoven write? 
 
 2. When was the first concerto written? 
 
 3. What is said of the style of the first of Beetho- 
 ven's concertos? 
 
 4 . When was the second concerto written? 
 
 5 . Give the key and opus number of the second 
 concerto. 
 
 6 . Give the key , opus number and date of Beetho- 
 ven's third concerto. 
 
 7 . Give the key, opus number and date of the fourth 
 concerto 
 
 8. What other important works were composed by 
 Beethoven about this time? 
 
 9. When was the fifth or emperor concerto written? 
 
 10. What important works are mentioned as having 
 preceded this concerto? 
 
 1 1 . What is the character of the subject of this work? 
 
 12. Who has been most successful in performing this 
 concerto in the United States? 
 
 . l-'J. What is the general impression of this work upon 
 the listener?
 
 58 STUDIES /-V MUSICAL HISTORY. 
 
 CONCERTO IN A MINOR BY SCHUMANN. 
 
 1 . For what was the first movement of this concerto 
 intended and when written? 
 
 2. When, by whom and under what auspices was the 
 work first rendered in public? 
 
 3. What conditions which usually influence the style 
 of less independent writers did Schumann utterly disre- 
 gard? 
 
 4. What does the performance of his works demand 
 of the artist? 
 
 5. In what resj>ect are his works inferior to those of 
 Chopin and Mendelssohn? 
 
 6. What is said of Schumann's relation to Beethoven? 
 
 7. What is the importance of the first bar of the 
 opening theme of this concerto? 
 
 8. How is the orchestra treated? 
 
 9. What is the meaning of the word tutti? 
 
 10. What does the first movement include and what 
 is its general character? 
 
 11. By what is the closing allegro introduced and 
 what is the technical character of this movement? 
 
 12. Mention one reason why this work is not oftener 
 played. 
 
 13. What peculiarities render a satisfactory interpre- 
 tation difficult? 
 
 14. What is the general impression of this work upon 
 the appreciative listener? 
 
 CONCERTO IN E MINOR BY CHOPIN. 
 
 1 . How old was Chopin when he produced this work? 
 
 2. What other important works had he composed 
 before 1830?
 
 STUDIES 7.V MUSICAL HISTORY. .V.i 
 
 3. What composers are said to have influenced Cho- 
 pin's style? 
 
 4. By what characteristics was Chopin's style dis- 
 tinguished from the beginning? 
 
 5. For what instrument was Chopin a favorite com- 
 poser? 
 
 6. What is the character of the orchestral part of 
 this concerto? 
 
 7. What is said of Tausig's version of the work? 
 
 8. With what does the first allegro open? 
 
 9. By what is the bold phrase iirthe opening of the 
 first allegro followed? 
 
 10. How is the second theme introduced? 
 
 11. I low are the themes treated in this movement 
 and with what does it close? 
 
 12. Describe the Romance in E. 
 
 13. What is the relative importance of the closing 
 Rondo? 
 
 14. What is the treatment of the principal theme and 
 what does it reflect? 
 
 15. In what manner are the closing runs of this 
 movement sometimes improperly rendered? 
 
 16. How does this concerto compare with the one in 
 F minor? 
 
 17. What is said of the second movement of the 
 concerto in F minor? 
 
 18. What is the general impression of the present 
 work upon the listener? 
 
 19. What two qualities are rated highest in the scale 
 of valuation? 
 
 20. What two qualities are rated lowest in the scale 
 of valuation?
 
 60 STUDIES 7jV MUSICAL HISTORT. 
 
 CONCERTO IN G MINOR BY SAINT-SAENS. 
 
 1. "What is Saint-Saens' nationality? 
 
 2. How many concertos has Saint-Saens written? 
 
 3. Which of Saint-Saens concertos is most popular? 
 
 4. What is the s'yle of the opening andante? 
 
 5. What follows the opening andante? 
 
 6. What is the relative impor a ice of the orchestra 
 in the movement above mentioned and in the Allegro 
 
 O 
 
 Seherzando? 
 
 7. "What is said of the popularity of this movement 
 and with what is it compare 1 !? 
 
 8. To what is the popularity of the Allegro Scher- 
 zando attributed? 
 
 9. What is here affirmed of the Dance Macabre 
 (Dance of Death) treated in Class E of these Studies? 
 
 10. What other prominent master of the French 
 school is here mentioned? 
 
 1 1 . What is the last movement of this work? 
 
 12. "What peculiarity in the last movement is men- 
 tioned in the text? 
 
 13 . What are the technical requirements of the Finale? 
 
 14. How is the work regarded by artists and the 
 public? 
 
 15. What secures for this work its high rank among 
 concertos? 
 
 CONCERTO IN G. MINOR BY MENDELSSOHN. 
 
 1 . What two elements not often united in the works 
 of one composer does this concerto exhibit? 
 
 2 . What characteristics of classic music ai e manifest 
 in tliis concerto? 
 
 3. In what is it related to the romantic in music?
 
 STUDIES JN MUSICAL HISTORY. 61 
 
 4 . What is meant by romanticism in music? 
 
 5. What does romanticism seek to express and at 
 the sacrifice of what considerations? 
 
 6. What moods does the classical ideal imply? 
 
 7. In what traits is Mendelssohns relation to the 
 classic and romantic shown? 
 
 8. What extreme of emotional expression did Men- 
 delssohn avoid? 
 
 9. Mention one of Mendelssohns compositions which 
 most prominently exhibits the romantic spirit. 
 
 10. Is this same spirit of romanticism observable in 
 any large number of his works? 
 
 11 . Of what is this concerto an admirable revelation? 
 
 12. What traits of character does it show. 
 
 MUST CONCKKTO IN K FLAT MAJOR BY LISZT. 
 
 1 . Does this concerto differ from former works in 
 this form? 
 
 2. To what is this difference attributable? 
 
 o . What is the character of the orchestral treatment 
 and with what is it comparable? 
 
 4. At what period of the composer's life was this 
 concerto sketched and finished? 
 
 ~> . What other celebrated works were produced in 
 this same period? 
 
 6. By whom and on what occasion was it first ren- 
 dered? 
 
 7. In what respect did Lis/t deviate at the beginning 
 from the usual form? 
 
 8. What does this innovation require of the pianist? 
 
 9. Of what is this first part composed and to what 
 does it lead?
 
 62 STUDIES IN MUSICAL HISTORY. 
 
 10. Describe the movement which follows and leads 
 to the scherzo? 
 
 1 1 . Wuat is the character of the scherzo? 
 
 12. Describe the movement following the scherzo. 
 
 13. Wi.h what does the work end? 
 
 14. What is the general impression of this work upon 
 
 the listener? 
 
 15. What qualities are rated highest in the scale of 
 
 valuation? 
 
 CONCKKTo IN K MINOR, BY PAGANINI. 
 
 1. Why is this concerto especially interesting? 
 
 2. What is the character of the last movement and 
 what is its relative importance in the work? 
 
 3. Of what was Paganini the inventor and what does 
 this work illustrate? 
 
 4. What are the ''natural harmonics" and how were 
 they employed by Paganini? 
 
 5. What technical feats did Paganini introduce in the 
 finale of this concerto? 
 
 6. What use of a single string is repeatedly illustra- 
 ted in this work? 
 
 7. What was the apparent object of employing a 
 single 4th or 3rd string where the same tones might have 
 bivu much more easily obtained from the 2nd or 1st? 
 
 8. By what device did Paganini take advantage of 
 the orchestral players who accompanied him? 
 
 9. What is the valuation of "display of solo in- 
 strument" in the qualitative table? 
 
 10. What valuation is given to ''concerted effects?" 
 
 1 1 . What is the general impression of this concerto 
 upon the'listener?
 
 STUDIES IN MUSICAL 11 'IS 'TORT. <;.) 
 
 CLASS G. SONATA. 
 
 DEFINITION OF QUALITIES AND CHARACTERIZATION OF SONATA. 
 
 1. To what does the name sonata apply? 
 
 2. During what length of time lias the sonata form 
 been in process of development? 
 
 3. What does the history of the sonata form reveal? 
 
 4. Of what is this form the expressional medium? 
 
 5 . What two agencies have contributed to the rhyth- 
 mical element of the sonata? 
 
 G. In what respects has the drama contributed to the 
 development of this form? 
 
 7. Detine the words polythetic and monothetic. 
 
 8. In what manner did the people's song contribute 
 to the enrichment of the sonata? 
 
 9. In what way has the fugue been an important 
 factor in the development of the sonata? 
 
 10. From what primitive word was sonata derived 
 and what was its original meaning? 
 
 11 . For what purpose was the word sonata first used? 
 
 12. What is the present full signification of the word 
 sonata? 
 
 13. From what form immediately preceding it in the 
 course of development of instrumental music was the so- 
 nata separated or evolved? 
 
 14. Of what was the suite composed and in what 
 style was it written? 
 
 15. Mention three of the earliest writers of violin so- 
 natas . 
 
 16. What composers were among the first to write 
 sonatas for keyed instruments?
 
 64 
 
 STUDIES IN MUSICAL HISTORY 
 
 17. For what instruments did Sebastian Bach com- 
 pose in this form? 
 
 18. Did these early writers all adhere to a fixed rule 
 or model, or did their works differ, each contributing 
 independently to the formation of the sonata? 
 
 19. With what is Haydn accredited in the treatment 
 of this form? 
 
 20. AY hat modification in style and treatment do you 
 understand by the substitution of monothetic and filial 
 for the polythetic idea? 
 
 21. What did Beethoven contribute to the sonata 
 form and with what result? 
 
 22. What are the primary qualities of the sonata ac- 
 cording to the qualitative analysis? 
 
 SONATA IN E FLAT BY HAYDN. 
 
 1. For what special service is Haydn historically 
 identified with the development of the sonata? 
 
 2. Which of Haydn's works were first presented to 
 London audiences? 
 
 3. What was Carl Philip Emanuel Bach's service to 
 the sonata form? 
 
 4 . What is the difference between the fugue and the 
 sonata? 
 
 5. By what conditions was the free development of 
 the sonata hindered before this time? 
 
 6. What musical element, not before utilized in in- 
 strumental composition, did Haydn adopt, which largely 
 determined the melodic and formal character of his works 
 and rendered them so popular? 
 
 7. What condition contributed to the freest exercise 
 of Haydn's peculiar artistic pent and rendered his works 
 so original?
 
 STUDfES AV MUSICAL HISTORY. 6f> 
 
 8. In what particular is Haydn's study of the folk- 
 song clearly manifest in his music? 
 
 9. What other characteristics, not before mentioned, 
 are noticeable in the sonatas of Haydn? 
 
 10. In what particulars did he approach nearest to 
 the Beethoven period in his treatment of this form of art? 
 
 11. What quality of this work is rated highest in the 
 scale of valuation? 
 
 12. What quality is rated lowest? 
 
 SONATA IX C MINOR ]!V MO7.AKT. 
 
 1 . How does this sonata deserve to be characterized ? 
 
 2. What is said of the mechanical devices employed 
 in this sonata? 
 
 3. What is the style of the opening fantasia? 
 
 4. In what keys are the three movements of the ><>- 
 nata proper written and what is said of its form? 
 
 5. What is the character of the adagio and what 
 does its treatment exemplify? 
 
 6. Py what is the orchestra suggested in the open- 
 ing movement of the fantasia? 
 
 7. What rare gift did Mozart, nossess in a high de- 
 gree? 
 
 8. What is expressed in this sonata? 
 
 9. What two chords did Mozart use with remarkable 
 skill? 
 
 10. Characterize his treatment of these chords in the 
 language of the text. 
 
 1 1 . What quality of this work is rated highest in the 
 scale of valuation? 
 
 12. What qualities are rated lowest?
 
 <;<; STUDIES IN MUSICAL HISTORY. 
 
 SONATA A1TASSIONATA ' {Y BEKTHOVKN. 
 
 1. What is the comparative importance of this 
 sonata? 
 
 2 . What does this work represent? 
 
 :$. What emotions are reflectd in this composition. 
 I . For what is the first movement distinguished? 
 5. Of the three thematic elements which is first :md 
 of what feeling is it expressive? 
 
 fi . What is the second theme and what does it suggest? 
 
 7. How is the third motive constructed and what 
 does it express? 
 
 8. What other work of Beethoven's represented in 
 these studies contains a similarly constructed motive ex- 
 pressive of a like feeling? 
 
 9. What is the character of the melody which is 
 placed over against these three thematic clauses? 
 
 10. Characterize this movement in the language of 
 the text. 
 
 11. What is the andante and how is it treated? 
 
 12. Describe the finale. 
 
 SONATA IN A MINOR BY SCHUBERT. 
 
 1. Describe Schubert's surroundings at the time this 
 sonata was written. 
 
 2. Describe the character of Schubert's genius in 
 the language of the text. 
 
 3. Characterize Schubert's sonatas in the language 
 of the text. 
 
 4. What is said of Beethoven's sonatas and what 
 difference of style does the comparison suggest? 
 
 5. What songs did Schubert compose about the 
 time this sonata was written and to what do they furnish 
 a clue?
 
 STUDIES 7.V MrSfCAL ///STOitr. 07 
 
 6. What is the emotional quality of the lirsl move- 
 ment? 
 
 7. What is the second movement? 
 
 <S. What is said of the third movement? 
 9. With what does the sonata close and for what is 
 it conspicuous? 
 
 10. What qualitv is rated highest in the scale of 
 valuation? 
 
 11. What quality is rated lowest? 
 
 SOXATA IN* <; MINOR nv SCHUMANN. 
 
 1. What is Schumann's position among composers 
 of instrumental music? 
 
 2. Of what does this sonata present an illustration? 
 
 3. In what features of this work are Schumann's 
 powers best exemplified? 
 
 4. Of what limitations in the art of composition does 
 this work give evidence? 
 
 f>. How many movements does this work contain 
 and what is the character of the main outlines? 
 
 6. What is said of the materials utilized in this work? 
 
 7. What departure from the visual custom is ob- 
 served in the first movement? 
 
 8. Of what characteristic of Schumann does the an- 
 dantino furnish an example? 
 
 9. What is the expressional character of the scherzo 
 :.n I rondo and what effect do they produce upon the 
 listener? 
 
 10. What is Beethoven's method of building a climax? 
 
 11. Characterize the con trary impressions produced
 
 68 STUDIES IN' MUSICAL HISTORY. 
 
 upon the listener by the music of Beethoven arid Schu- 
 mann in the language of the text. 
 
 12. What qualities of this work are rated highest in 
 the scak of valuation? 
 
 13. What quality is rated lowest. 
 
 SONATA IN F MIXOU J5Y ( . I'. K. HACK. 
 
 1 . "What was C. P. E. Bach's rank among pianoforte 
 virtuosi of his time? 
 
 2. What great service to musical art is accredited to 
 C. P. E. Bach? 
 
 3 . What claim has the present work to special inter- 
 est and admiration? 
 
 4. Of how many movements does the work consist 
 and what are they? 
 
 5. What excellences does the work possess and what 
 composers do they suggest? 
 
 6. What traces of Sebastian Bach's influence are dis- 
 coverable in this composition? 
 
 7 . What qualities of Beethoven does it foreshadow? 
 
 8. What is said of the emotional character of this 
 work? 
 
 9. What is the character of the rhythms? 
 
 10. What is expressed in the melody? 
 
 11. What composer and what emotional qualities are 
 mentioned as foreign to the style of this work? 
 
 12. AVhat is said of the "chords" and "counterpoint" 
 of the work? 
 
 13. What quality is rated highest in the scale of val- 
 uation? 
 
 14. What qualities are rated lowest?
 
 STUDIES IN MUSICAL HISTOR1 . 69 
 
 SONATA IN A FLAT, BY WEBER. 
 
 1 . Of what school of musical art in its full develop- 
 ment was Weber the first great representative? 
 
 2. How many sonatas did Weber write? 
 
 3. What other great composer produced some of the 
 best of his works in this form at the same time? 
 
 4. What is said of the form of this sonata? 
 
 5. What is the character of the first movement? 
 
 6. What is said of the second movement of the 
 sonata? 
 
 7 . How is the theme of the second movement after- 
 ward treated? 
 
 8. What is the character of the menuetto? 
 
 9 . What is the finale? 
 
 10. How does this work rank in point of difficulty? 
 
 11. What was Weber's rank as a pianist at the time 
 this sonata was written? 
 
 12. Characterize the work in the language of the 
 quotation from Ambros.
 
 70 STCDfES IN MUSICAL HfSTORT. 
 
 CLASS H. CHAMBER MUSIC. 
 
 DKKIMTIDN OK ol'ALITIKS AND CH ARACTKUI/ATION OF 
 CHAMBKK Ml'SIC. 
 
 1. What does the term "chamber music" imply? 
 
 2. For what class of players is chamber music writ- 
 ten? 
 
 3. What is the difference between chamber music 
 and concerto music.'' 
 
 4. Why does the j>erformance of chamber music re- 
 quire players of eminent and equal ability? 
 
 5. In what sense is a chamber piece more than a 
 concerto? 
 
 6. AVhat names are applied to chamber pieces and 
 why? 
 
 7. When is the term "string" added or prefixed? 
 
 8. What is the relative importance of the piano 
 when used with other instruments in a piece of chamber 
 music? 
 
 9. Who perfected the form of the string quartette? 
 
 10. What other composers excelled in the composi- 
 tion of works in this form? 
 
 11. Why is it difficult to give a satisfactory defini- 
 tion of qualities applicable to all the specimens of cham- 
 ber music selected for these Studies? 
 
 1 2 . What qualities should an ideal chamber piece con- 
 tain? 
 
 TRIO IN B FLAT MAJOR BY RUBINSTEIN. 
 
 1 . To what school or class of composers does Rubin- 
 stein belong and what is his rank? 
 
 2. In which does Rubinstein most excel, compos- 
 ing or piano plaj'ing?
 
 STUDIES IN MUSICAL HISTORT. 71 
 
 3. In what respect does Rubinstein's music differ 
 from that of other writers of the new Russian school? 
 
 4. What composers are most prominent in the Rus- 
 sian school at the present time? 
 
 5 . In the treatment of what forms has Rubinstein 
 been most successful? 
 
 6. What symphony of exceptional merit has Rubin- 
 stein composed? 
 
 7. What is the character of the present Trio? 
 
 8. What special merits are mentioned in the text? 
 
 9 . What mood is reflected in the adagio? 
 
 10. By what is the adagio contrasted and with what 
 effect? 
 
 11. For what is the finale written and what is its 
 relative merit? 
 
 12. What criticism may be inferred from the closing 
 sentence of the text? 
 
 13. What quality is rated highest in the scale of 
 valuation? 
 
 QUARTET IN C MINOR BY BRAHMS. 
 
 1. Who was "the mighty Cantor of Leipsig" with 
 whom Brahms is here compared? 
 
 2. What intellectual powers does he possess in com- 
 mon with Sebastian Bach? 
 
 3 . What other qualities essential to a great composer 
 does he possi 
 
 4. On what plane of study is the real power of the 
 present work most deeply felt? 
 
 5 . In what respects are Bach , Beethoven and Brahms 
 related in musical art?
 
 72 STUDIES IN MUSICAL HISTORY. 
 
 6. What broader scope and significance is ascribed 
 to the music of these three composers? 
 
 7. How must we listen to this quartet if we would 
 understand it? 
 
 8. Is this quartet to be regarded as a classic or 
 as a romantic composition? 
 
 9. Characterize this composition in the words 
 quoted in the last four lines of the text. 
 
 10. What quality is marked highest in the scale of 
 valuation? 
 
 STKING QUARTET, OP. 131, BY BEETHOVEN. 
 
 1 . What is the importance of the string quartet as a 
 form of instrumental music? 
 
 2. What masters have written perfect works in this 
 form? 
 
 3. What other quartets of Beethoven rank equally 
 high in merit with this one? 
 
 4. What impression do Beethoven's later works pro- 
 duce upon the superficial listener? 
 
 5 . How do they appear to the profound scholar? 
 
 6 . What change came over Beethoven toward the end 
 of his life, and how did it affect his compositions? 
 
 7. What emotions are embodied in this quartet, and 
 what in its entirety does it represent? 
 
 8. What point in musical development does this 
 work attain? 
 
 9. Recite the closing phrase of the text. 
 
 10. What is remarkable in the valuations assigned to 
 the qualities of this work?
 
 STUDIES IN MUSICAL HISTORY. 73 
 
 G MINOR QUARTET BY GRIEG. 
 
 1 . Of what race is Edward Grieg a descendant? 
 
 2. Where was Grieg educated? 
 
 3. What was the source of his musical inspiration? 
 
 4. What national characteristics are reflected in his 
 compositions, and in what manner? 
 
 5. What was the character of Grieg's remote ances- 
 tors? 
 
 6. How is the spirit of this ancient race revealed in 
 the music of Grieg? 
 
 7. What essential element of the classic does this 
 quartet lack? 
 
 8. What is expressed in this composition, and in 
 what does its unity consist? 
 
 9. What is the characteristic quality of Grieg's larger 
 works, and to what school do they belong? 
 
 10. What quality is rated highest in the scale of val- 
 uation? 
 
 QUINTET FOR PIANO AND STRINGS, BY ST. SAENS. 
 
 1. To what nation does Saint-Saens belong by birth 
 and education? 
 
 2. What characteristics of his music ally him to the 
 French school? 
 
 3 . In what characteristics is he related to the Ger- 
 man school? 
 
 4. What is said of the character and importance of 
 this quintet? 
 
 5. For what is this quintet especially remarkable? 
 
 6. What characteristic of all his chamber music is 
 plainly illustrated in this composition? 
 
 7 . To what especial points of interest and merit in 
 tMs work does the writer refer?
 
 74 STUDIES IN MUSICAL HISTORY. 
 
 8. Quote verbatim the closing sentence of the text? 
 
 9 . What quality is rated highest in the scale of valua- 
 tion? 
 
 QUARTET IN D MINOR, BY SUHUBEKT. 
 
 1. Upon what poem and song was this quartet 
 founded? 
 
 2 . What does the poem represent? 
 
 3. What is the character of the music in the song? 
 
 4. What two great instrumental works were written 
 about the time of this quartet? 
 
 5. How many subjects has the first movement and 
 what does each suggest? 
 
 6 . From what is the second movement developed and 
 what is its character. 
 
 7. In what respect is this work especially interesting? 
 
 8. What quality is rated highest in the scale of valua- 
 tion? 
 
 QUINTET IN E FLAT, BY SCHUMANN. 
 
 1 . What is the rank of this quintet among other 
 chamber pieces by Schumann? 
 
 2. Upon what occasion was it produced and by whom 
 was the pianoforte part rendered? 
 
 3. What composer carried its fame to Paris? 
 
 4. Describe the first movement of the work. 
 
 5 . What is the second movement designated and how 
 treated? 
 
 6. What is said of the finale? 
 
 7 . What characteristics of Schumann 's music are wel 1 
 illustrated in this work? 
 
 8 . What has secured for this work its great popularity? 
 
 9 . What quality is rated highest in tbe scale of valua- 
 tion? 
 
 10. What quality is rated lowest?
 
 STUDIES tN MUSICAL HISTORY 75 
 
 CLASS I. SOXG. 
 
 DEFINITION OF QI T ALITIKS AND CH ARACTKHI/ATIOX OF SONG. 
 
 1 . What is meant by song? 
 
 2. What is tlic character and importance of this 
 class of music? 
 
 3. What does the term song technically imply? 
 
 4. What originally was the fixed type of verse for 
 song? 
 
 5. What is said of the structure of song melodies at 
 the present time? 
 
 6. What is said of the present style of our song lit- 
 erature? 
 
 7. What is the character of the most popular soni:>. : 
 Give examples. 
 
 8. How are these simple songs commonly designated? 
 
 9. To what does the term -ballad" properly apply? 
 10. What was the first modification of the simple 
 
 ballad which tended toward the development of a more 
 elaborate song form? 
 
 1 1 . What is the most elaborate song form extant? 
 
 12. What is its character? Give examples. 
 
 13. What term is applied to the simplest songs of the 
 French, and what is their character? 
 
 14. What other large class of song literature do the 
 ' lerniatis possess? 
 
 lo. What is the character of these short songs, and 
 what composers have been active in their production? 
 1C.. Define the Aria. 
 17. What is the character of the English ballad ? 
 
 15. What must be the character of a song text?
 
 76 STUDIES IN MUSICAL HISTORY. 
 
 19. What three essential qualities of the music in its 
 relation to the text are mentioned? 
 
 20. To what other requirements than those of the 
 text must the music of the song lend itself? 
 
 21 . What is the relation of the pianoforte to the song? 
 
 Kill, KINO, BY SCHUBERT. 
 
 1. What was the Erl King in German and Scandina- 
 vian mythology? 
 
 2. What is the story as represented in Goethe's ballad? 
 
 3. What is said of the origin of this song? 
 
 4. Whence the special importance of the Erl King as 
 a type of song? 
 
 5. What two qualities are rated lowest in the scale of 
 valuation? 
 
 HOME, SWEET HOME, BY BISHOP. 
 
 1 . In what representation does this song surpass all 
 others in the estimation of English speaking people? 
 
 2. By whom was the poem written and what was his 
 condition in life? 
 
 3. What is said of the origin of the music? 
 
 4. What distinction is mentioned between the Scot- 
 tish and English folk songs and those of the Germans. 
 
 5. In what respect do songs of this class differ from 
 the Italian? 
 
 6. What is the merit of songs like Home, Sweet Home 
 from an aesthetic standpoint? 
 
 7. What quality is rated highest in the seale of valua- 
 tion? 
 
 8. What valuation is assigned to "harmony" and 
 "accompaniment?"
 
 STUDIES IN MUSICAL HISTORY. 77 
 
 HE THE NOBLEST, BY SCHUMANN. 
 
 1 . What is said of the relation between Schubert and 
 Schumann as song writers? 
 
 2. In what respect does Schumann surpass Schubert? 
 
 3. What is said of the voice and instrument as re- 
 lated to the text of the song? 
 
 4. What practice common among song writers (es- 
 pecially Italian) did Schumann disregard? 
 
 5. What is said of the songs, 'Woman's Love and 
 Life?" 
 
 6 . What is the character of the present song? 
 
 7. What qualities are rated highest in the scale of 
 valuation? 
 
 NON E VER, BY MATTEL 
 
 1 . Of what is the present song illustrative? 
 
 2. What is said of the melody of this song? 
 
 3. To what does this work owe its effect upon the 
 hearer? 
 
 4. What is the relative importance of music and text 
 in songs of this character? 
 
 5. What is said in evilence of the popularity of this 
 song? 
 
 6. Characterize the spirit of the music by quoting 
 the stanza given in the text? 
 
 7. Define the character of the melody and its treat- 
 ment? 
 
 8. What quality is rated highest in the scale of valua- 
 tion? 
 
 9. What quality is marked lowest in the scale of 
 valuation? 
 
 10. With what school of song do these valuations 
 suggest a wide distinction?
 
 78 STUDIES IN MUSICAL HISTORY. 
 
 LOST CHOKD, BY SULLIVAN. 
 
 1 . Iii what particular does the Lost Chord rank among 
 the best? 
 
 2. Quote the lines of the poem given, and repeat the 
 paraphrase of the writer. 
 
 3 . What is said of the relation of the music to the 
 words? 
 
 4. What is said of the melody, harmony and accom- 
 paniment of this song? 
 
 5. What "clever points" in the music are mentioned 
 and where do they occur? 
 
 6. What is the character of the music at the climax? 
 
 7. What is the relation of this work to the Italian 
 Romanza and the German song? 
 
 8. What distinction is here mentioned between the 
 Italian Romanza and the German song? 
 
 ADELAIDE, BY BEETHOVEN. 
 
 1 . What is said of the "nature" of Beethoven? 
 
 2. What emotional characteristics distinguish Beetho- 
 ven's greatest works*? 
 
 3 . What attitude of mind with reference to the Divine 
 is manifest in Beethoven's compositions? 
 
 4. What is the emotional character of Adelaide? 
 
 5. What is revealed in the music of this song? 
 
 6. In what respects is Adelaide different from most 
 other love songs? 
 
 7 . What is the character of the first movement of the 
 song? 
 
 8. Describe the second movement. 
 
 9 . What elements have received the highest valuation 
 in the qualitative analysis? 
 
 10. What is the valuation of the text?
 
 STUDIES IN MUSICAL HISTORY. 79 
 
 PALM BRANCHES, BY FAURK. 
 
 1 . Of what national school of song is "Palm Branches ' ' 
 a type.'' 
 
 2. Describe the Chanson. 
 
 3. What is the character of the "song proper," as 
 created by Gounod, Faure and other French writers? 
 
 4. What combination of qualities render these songs 
 so effective for the concert room and church? 
 
 5. Why are they sometimes objectionable for the 
 latter purpose? 
 
 6. Upon what is Faure's Palm Branches founded, 
 and what is its rank among songs of its kind? 
 
 7. What is the character of the melody and accom- 
 paniment in this work? 
 
 8. To what is the peculiar strength of the melody of 
 this song attributable? 
 
 9 . Describe the manner in which this effect is secured . 
 10. What quality is rated highest in the scale of valu- 
 ation?
 
 80 
 
 STUD/ES IN MUSICAL HISTORY, 
 
 MISCELLANEOUS. 
 
 TYPICAL MUSICAL FORMS. 
 
 1. Define the term "form" in its application to 
 music? 
 
 2. What is the most important principle of form 
 and in what way is it manifested in music? 
 
 3. What is the order of dependency between the 
 period, the motive and the phrase? 
 
 4. What is said of the order and manner of this re- 
 pitition? 
 
 5. Symmetry has reference to what? 
 
 6. What is the relation of contrast to form? 
 
 7. When may art be said to enter into form? 
 
 8. From what roots have all musical forms been de- 
 rived? 
 
 0. What has the last named kind of musical struc- 
 ture l)een called and what have grown out of it? 
 
 10. What has the former the lyric people's soni> - 
 produced? 
 
 11. Into what complex forms do these t-n radical 
 types uni'e and in wha^ manner? 
 
 12. Of what is Fujjue tin- typ. ? 
 
 13. Of what is the Song- Without, Words the ty 
 
 14. In what respect does the No<-imn> differ !.<>!:, '..he 
 Sonj; Without Words? 
 
 15. Of what is the Fantasia the type? 
 
 16. What is said of the Sonata in comparison wills 
 other musical forms? 
 
 17. What is a "character" piece? 
 
 18. What vocal forms are mentioned :is importan'?
 
 STUDIES iy MUSICAL HISTORT. 81 
 
 FANTASIE. 
 
 1 . Define the term fantasie. 
 
 2. What does the German term "phantasie' .signify 3 
 
 3. Define "fantasie" in its application to music. 
 
 4. What is the meaning of "potpourri?" 
 
 5. Since when has the word fantasie been in use and 
 what was its meaning in music? 
 
 6. What is the character of Bach's Fantasies? 
 
 7. To what form did the fantasie approximate dur- 
 ing the Beethoven period? 
 
 8. For what purpose was it sometimes applied to 
 sonatas? 
 
 9. What composers have written fantasies witli but 
 little variation from the sonata form? 
 
 10. What is the character of many pieces of Schu- 
 mann's to which this term is applied? 
 
 1 1 . What do the fantasies of one generation prophesy 
 of the next following? 
 
 12. What objectionable tendency results from a too 
 close adherence to the style of accepted models? 
 
 13. How does this ultimately effect music and in 
 what way is freedom of style again restored? 
 
 14. What masters have created the greatest works of 
 this name? 
 
 lf>. For what does the fantasie stand? 
 
 16. When does the fantasie exceed its proper limit? 
 
 QUALITIES OF ETUDES. 
 
 1. What is the meaning of the word "Etude?" 
 
 2. What is the object of mechanical studies? 
 
 3. Mention instances of higher kinds of studies.
 
 82 STUDIES IN MUSICAL HISTORY. 
 
 4. Mention certain studies equally interesting as 
 music Mini exercises? 
 
 5. What, is said of Schumann's compositions? 
 
 6. What is their value for practice? 
 
 7. What studies are at the other extreme in the scale 
 of value? 
 
 8. Why arc the etudes of Czerny, Koehler, Schmitt 
 and others of their class less useful than exercises which 
 pretend to no musical value? 
 
 9. Where do the studies of Loeschhorn, Cramer, 
 Gurlitt and lieinecke belong in the scale of merit? 
 
 NOCTURNE. 
 
 1. From what was the word Nocturne derived? 
 
 2. What is a nocturne? 
 
 3. What is said of the form of the nocturne? 
 
 4. What is the usual character of the melodies of 
 which the nocturne is composed? 
 
 5. What class of emotions find expression in the 
 nocturne? 
 
 6. Who was the inventor of the nocturne? 
 
 7. What is the general character of the Field noc- 
 turnes? 
 
 8. In what respects do Chopia's nocturnes surpass 
 those of Field? 
 
 9. Characterize the four Chopin nocturnes mentioned 
 in the words of the text? 
 
 10. What picture is represented in the last part of the 
 text? (Note: When desirable, students may be required 
 to quote this in the language of the text.)
 
 STUDIES /.V ML7S/CAL HISTOKt'. 83 
 
 SONG \VITIK )TT WORDS. 
 
 1. To whom do we owe the suggestive title Song.-> 
 Without Words? 
 
 2. Are the Songs Without Words of Mendelssohn 
 to be regarded as classical or romantic compositions? 
 
 3. To what school of musical art does Mendelssohn 
 really belong, the classic or romantic? 
 
 4. What is the distinctive mark of the classical 
 school? 
 
 5. What is the characteristic mark of the romantic 
 fachool? 
 
 6 . Give the views of the romanticist in the language 
 of the test. 
 
 7. To what school was Mendelssohn allied by nature 
 *nd education? 
 
 8. What is said of Mendelssohn 's treatment of form? 
 
 9 . Towards what style of art did Mendelssohn's feel- 
 ings incline him? 
 
 1 . What did he seek to express in his Songs Without 
 Words? 
 
 11. Why is the title which Mendelssohn applied t<> 
 these pieces so appropriate? 
 
 12. In what sense are these compositions romantic? 
 
 13. In what sense are the}' classic? 
 
 14. What influence have the charming compositions 
 and the title applied to them exercised upon musical art ? 
 
 TE DEI'M 
 
 1. Who composed the original music of the "Te 
 Deum?" 
 
 2. What is said of this Ambrosian melody? 
 
 3 . When and in what manner was it introduced into 
 England? 
 
 7
 
 84 STUDIES IN MUSICAL HISTOR1. 
 
 4. What early composers used the Ambrosian melody 
 as the basis of their settings of this text. 
 
 5. Among the later settings of the Te Deum, which 
 are most celebrated? 
 
 6. Who was first to employ orchestral accompani- 
 ment in his setting of this hymn? 
 
 7. What is said of Purcell's Te Deum? 
 
 8. What is said of Handel's "Utecht" Te Deum? 
 
 9. Describe Berlioz's Te Deum. 
 
 10. What is the character of more recent settings of 
 this hymn! 
 
 THE HISTORY OF MUSIC. REASONS WHY IT SHOULD BE 
 STUDIED. 
 
 1 . How can we correctly estimate the creations of 
 the human mind? 
 
 2. Why has music been called the most subjective 
 of all arts? 
 
 3. Why is a knowledge of the origin and growth of 
 tone forms indispensable? 
 
 4. To wh:it does the study of the history of music 
 form a reliable guide, and why? 
 
 5 . What does it teach us about the birth and growth 
 of music? 
 
 6. What does it show about the folk-song and later 
 music? 
 
 7. What do we learn from it about notation, har- 
 mony and melody? 
 
 8. What do we learn from it about instrumental 
 music? 
 
 9. Besides instruction what does it afford? 
 
 10. What is a musical education without it? 
 
 11 . Why is it peculiarly advantageous to the musician?
 
 STUDIES IN MUSICAL HISTORY. 85 
 
 THE MADRIGAL. 
 
 1. Give the etymology of the word madrigal. 
 
 2. To what was the term madrigal first applied? 
 
 3. What was the character of the songs of a later 
 period bearing this title? 
 
 4. What was the source of the music and poetr}' of 
 the madrigal? 
 
 5. To what is due its development as a distinct 
 musical form? 
 
 6 . What school .of musical art contributed most to 
 its development and what prominent master is mentioned? 
 
 7 . In its earlier phases what form of vocal art did 
 the madrigal resemble? 
 
 8. What was the character of the Motet? 
 
 9. What was the course of the development of the 
 madrigal and in what did it culminate? 
 
 10. Who perfected the form of the madrigal and 
 transplanted it in Italy? 
 
 11. What prominent Italian master composed in this 
 form? 
 
 12. When was the madrigal introduced into England? 
 
 13. What conditions rendered England so favorable 
 to the development of the madrigal at that time? 
 
 14 . What English composers contributed to this form 
 and with what result? 
 
 15. What related part songs are mentioned? 
 
 16. What is a Round: 
 
 17. What is the distinction between the Round and 
 the Catch? 
 
 18. Of what vocal form peculiar to England were 
 these the immediate precursors and when did it originate?
 
 86 STUDIES IN MUSICAL HISTORY. 
 
 THE CLASSICAL IN MUSIC. 
 
 1. From what source was the word "classic'' de- 
 rived, and what its original and present meaning? 
 
 2 . What tests must a work of art undergo before it 
 may be declared a classic? 
 
 3 . To what must a work be adapted to attain the 
 rank of a classic? 
 
 4. What are the elements of classic nferit? 
 
 5. What is "style" in art? 
 
 6. What is "truth" in art? 
 
 7. Why may each generation have its own standard 
 of classic excellence, rejecting those of former periods? 
 
 8. To what class are the best of earlier works con- 
 signed when superseded by those of a more advanced 
 period? 
 
 9. What productions mark the beginning and close 
 of the Classical Period in music? 
 
 10. What school of musical art followed the Classical? 
 
 11. What works produced between 1600 and 1827 
 may properly be regarded as classic? 
 
 1 2 . What elements of merit must the compositions of 
 earlier periods possess to retain a place among modern 
 works? 
 
 13. What composers have produced the best classical 
 works? 
 
 14. What aesthetic elements do the best of the works 
 contain in equal proportion? 
 
 15. What has Hegel, the great esthetician predicated 
 as the measure of the classic? 
 
 16. To what class of music does the term classical 
 properly belong? 
 
 17. What are the forms of the classic in music?
 
 STUDIES IN MUSICAL HISTORY. 87 
 
 18. Which of these forms did Beethoven develop to 
 the highest degree of classic beauty and excellence? 
 
 19. What misuse of the term classic is referred to in 
 the text? 
 
 REQUIEM. 
 
 1. To what is the name "Requiem" applied? 
 
 2. From what is its name derived and what is its 
 English translation? 
 
 3 . By what is this anthem followed? 
 
 4. To what music are these pieces assigned? 
 
 5. What is said of these old melodies? 
 
 6. What is the first important setting referred to in 
 the text? 
 
 7. What movements did Palestrina's setting con- 
 tain? 
 
 8. Why is it supposed Palestrina omitted from his 
 setting the remaining three movements? 
 
 9. What is said of Mozart's Requiem. (See Manual 
 of Music, revised edition, page 146.) 
 
 10. What is said of Cherubmi? 
 
 11. Describe Brahm's "German Requiem." 
 
 12. What is said of Berlioz's setting of this text? 
 
 13. What is said of Verdi's Requiem? 
 
 14. What part of the text affords the best opportu- 
 nity for effective musical treatment? 
 
 15 . In what respect do modern composers differ from 
 the old masters in their treatment of this text?
 
 s:< STUDIES IN MUSICAL HISTORY, 
 
 THE FUGUE. 
 
 1 . What is the rank and character of the fugue as a 
 form of musical art? 
 
 2. From what was the fugue derived? 
 
 3. What element does it possess not contained in the 
 canon? 
 
 4 . How many voices are required to give expression 
 to the fugal form? 
 
 5. What is the first requisite of the fugue? 
 
 6. What must be the theme or subject? 
 
 7. How is the subject announced and how treated? 
 
 8. What are these successive representations called 
 collectively and what is their relative importance in the 
 composition? 
 
 9. In what key does the first voice sing the subject? 
 
 10. How is the subject treated by the responding 
 voice and what is it there called? 
 
 1 1 . What is the melodic material furnished by the 
 voice, while the " answer " or repitition is being sung by 
 the second voice called? 
 
 12. Must this melody, which follows the subject, al- 
 ways be the same or may it be varied at each repetition 
 of the subject? 
 
 13. What subjects are permitted to sing, either the 
 subject or the answer in course of the exposition? 
 
 14. What is the chief feature of the exposition? 
 
 15. What appears at the close of the exposition? 
 
 16. How is the "interlude" treated and of what ma- 
 terials is it composed? 
 
 17. How does the interlude close and what then ap- 
 pears? 
 
 18. How are the exposition and interlude relatively 
 treated during the continuance of the piece?
 
 ,V7YY>//s.V IN MUSICAL HISTORY. 89 
 
 19. In what key musk the last exposition appear? 
 
 20 . How is the last exposition treated when the nature 
 of the subject permits? 
 
 21. What is meant by Stretto? 
 
 22. May these repetitions be appropriately used be- 
 fore the final exposition? 
 
 23. Is it preferable to introduce such combinations 
 during the progress of the piece or reserve them for the 
 last? 
 
 24. What is sometimes added at the close? 
 
 LITERARY INTERPRETATION IN MUSICAL AESTHETICS. 
 
 1. What phase of musical art did the eighteenth 
 century originate and bring to perfection? 
 
 2. What phase did the nineteenth century develop? 
 
 3. What composers are mentioned as the supreme 
 types of the "Classical" in masic? 
 
 4. What composers are distinguished for the "real- 
 ism" of their music? 
 
 5. What three composers are here assigned the 
 highest rank and in what province of musical art did 
 each excel? 
 
 6. What is "programme music?" 
 
 7 . What is the character and value of the literature 
 which has attended the development of programme 
 music? 
 
 8. To what extent may these "literary spurs" be 
 useful? 
 
 9 . What extreme is to be avoided in the acceptance 
 of these literary paraphrases?
 
 90 STUD IKS IN MUSICAL 
 
 10. In what composer do the musical tendencies of 
 the eighteenth and nineteenth centuries unite? 
 
 11. What work of Mendelssohn's is referred to as 
 being too obviously realistic to require mention? 
 
 1 2 . What is suggested by the initial motive of six 
 notes in Mendelssohn's overture to the Hebrides? 
 
 13. Under what circumstances was this work written? 
 
 14. Finally, what is the value of these "literary 
 aids" to musical interpretation? 
 
 DEFINITION OF THE "ROMANTIC." 
 
 1 What in general is meant by the term romantic 
 and to what is it commonly applied? 
 
 2. What is the meaning of romantic in its applica- 
 tion to music? 
 
 3. When did the romantic spirit begin to be promi- 
 nent in music and of what was it a part? 
 
 4. Name the first distinctly romantic composition 
 and give the date of its publication? 
 
 5. What earlier instances are mentioned in which 
 "picture painting" was attempted in music. 
 
 6. Who was the first of great romantic writers; 
 when and in which of his works is the romantic spirit most 
 prominent? 
 
 7. What composer followed Schubert and for what 
 instrument were his works mostly written. 
 
 8. What work of Mendelssohn marks a great ad- 
 vance in musical representation? 
 
 9. What has been the character in this respect of 
 most works written since Schumann and Mendelssohn? 
 
 10. What is tho character of some of Liszt's com-
 
 STUDIES fAT MUSICAL HISTORY. 91 
 
 positions in comparison with those of other com posers of 
 the romantic school? 
 
 11. What modern composers mentioned have con- 
 formed to the classic model? 
 
 12. What are the characteristic forms of romantic 
 music? 
 
 13. Why is the Song Without Words necessarily 
 romantic? 
 
 1 \. Why is the Fantasia a characteristic form of the 
 romantic? 
 
 1"). What is sensationalism in music? 
 16. What is realism in music? 
 
 THE MASS. 
 
 1. What is meant by "Mass?" 
 
 2. How many texts are included in the Mass and 
 how are they frequently treated? 
 
 3. Mention the first text referred to and the names 
 included in it . 
 
 4. Mention the second text and all it includes. 
 
 5. Mention the third text and what it includes. 
 
 6. Mention the fourth and fifth texts with all they 
 include 
 
 7. What is often added to the parts named and 
 where does this addition occur? 
 
 8. What is said of the original music of the Mass? 
 
 9. When was the Ambrosian and Gregorian music 
 supplanted and what then formed the cantus fennus? 
 
 10. What was still later taken as foundation for the 
 music of the Mass and what example of this style is 
 mentioned?
 
 92 STUDIES IN MUSICAL HISTORT. 
 
 11. What is said of Palestrina's "Missa Papae Mar- 
 cell : 
 
 12. When and by whom, after Palestrina, was the 
 next great work of this class written? 
 
 13. In what respects does Bach's Mass in B minor 
 differ from Paiestrina's "Missa Papae Marcelli?" 
 
 14. What is said of Mozart's Masses? 
 
 15. After Bach's great work what was the next im- 
 portant contribution to this department of music? 
 
 16. What is said of Beethoven's "Missa Solemnis?" 
 
 17. What more recent settings are mentioned and 
 what is their character? 
 
 THE PRINCIPLES OF THE BEAUTIFUL. 
 
 1 . To what sense does every work of art fi rst appeal , 
 and with what general result? 
 
 2. Upon what does a work of art first depend for its 
 popularity, and power to reach the mind? 
 
 3. Beyond the mere sensuous impressions produced 
 by a work of art, what other pleasurable manifestation 
 does it afford? 
 
 4. In what particular is this skill or power of exe- 
 cution revealed in painting? 
 
 5. What manifestations of skill in music produce 
 pleasureable impressions? 
 
 6. What kind of pleasure does the evidence of skill 
 afford, and what does it require of the observer? 
 
 7. What other impressions than those referred to is 
 a work of musical art capable of producing? 
 
 8. Do all observers experience an equal degree of 
 emotional effect from a work of art?
 
 STUDIES IN MUSICAL HISTORY. 93 
 
 9 . What class of observers does a work of art appeal 
 to most strongly? 
 
 10. Upon what is the realization of the deepest emo- 
 tional effects of art dependent? 
 
 1 1 . What is the range of emotional feeling afforded 
 by a musical vork? 
 
 12. According to this classification, what is the first 
 and lowest degree of pleasure derivable from art? 
 
 1-T. After the "pleasing in sensation," what is the 
 m-xt. higher plane of esthetic enjoyment? 
 
 1 1. What is the third and highest degree of pleasure 
 afforded by art. and what is its range? 
 
 1"). May all music be classified in accordance with 
 these principles? 
 
 1(5. What masters have written the most spiritual of 
 all nmsir : 
 
 KEY TO I'UONUNCI \T1OV 
 
 1 . Give the Italian sound of a. 
 
 2. What two sounds has the Italian e? 
 :?. Give the Italian sound of i. 
 
 4 . What two sounds has the letter j in Italian 
 
 f> . Give the two sounds of the Italian o. 
 
 6. What is the Italian sound of u? 
 
 7. What sound has the vowel a in German 5 
 
 8. What is the sound of ai in German? 
 
 9. What sounds has ae or ii in German? 
 
 10. What sound has aeu or aii in German? 
 
 11. What sound has au in German? 
 
 12. What sounds has e in German? 
 
 13. What sound has ei in German? 
 
 14. What sound has eu in German?
 
 94 STUDIES /A* MUSICAL Hf STORY. 
 
 15. What sound has i in German? 
 
 16. What sound has ie in German? 
 
 17. What sounds has oin German? 
 
 18. What sound has oe or in German? 
 1!>. What sound has u in German? 
 
 20. What sound has ue or ii in German? 
 
 21 . What sounds has a in French? 
 
 22. What sound has ai in French? 
 28. What sounds has au in French? 
 21 . What sounds has e in French? 
 2. r >. What sound has ei in French? 
 
 26. What sound has eu in French? 
 
 27. What sounds has i in French? 
 
 28. What sound has ia in French? 
 
 29. What sounds has ie in French? 
 :?0. What sounds has o in French? 
 
 31. What sound has u in French and how indicated? 
 
 32. Explain the use of y in French?
 
 FOR A .\ OR MAL COURSE. 95 
 
 QUESTIONS FOR A NORMAL COURSE OF 
 TWELVE LESSONS. 
 
 DEFINITION OF MUSIC. CLASS A, ANTIQUITIES OF MUSIC. 
 
 1 . What is the meaning and what the derivation of 
 the word music? 
 
 2. What are the elements of a perfect music? 
 
 3. What have been the actuating forces of musical 
 progress? 
 
 4. How do you account for the reverence in which 
 the art of music has been held by the Aryan race in all 
 ages? 
 
 ANCIENT EGYPTIAN MUSIC. 
 
 1 . What is the source of our knowledge concerning 
 t'.ie music of the ancient Egyptians? 
 
 2. What were the instruments most in use? 
 
 3. What evidences of progress are mentioned? 
 
 4. What are the more usual combinations of players 
 for band purposes? 
 
 ANCIENT HINDOO MUSIC. 
 
 1. Wherein consists the importance of the history of 
 Hindoo music? 
 
 2. Describe the course through which the primeval 
 instrument of the violin family came into Europe. 
 
 3. What was the characteristic instrument of Hindoo 
 music? 
 
 4. What is said of their theory, and of the state of 
 the art of music among them?
 
 96 QUESTIONS FOR A NORMAL COURSE. 
 ANCIENT GREEK MUSIC. 
 
 1. Describe the general course of music among the 
 mirk-lit Greeks. 
 
 2. Who were the principal composers of the classical 
 <lrnm:i, and what modern form of art did it resemble? 
 
 .'). Who were the principal musical theorists among 
 the Greeks? 
 
 4 . Who were the first observers of musical phenomena 
 by ear among the Greek writers? 
 
 EARLY CHRISTIAN MUSIC. 
 
 1 . What is supposed to have been the character of 
 the music of the early Christians? 
 
 2 . Wherein was Christianity important in the develop- 
 ment of the art of music? 
 
 3. How did Christianity operate in elevating the art 
 of music? 
 
 4. .What is said of the connection of Christianity and 
 music from its beginning until now? 
 
 ST. AMBROS. 
 
 1 . What was the character of the singing of the early 
 Christians? 
 
 2. What cause is mentioned as having first con- 
 tributed to a larger official recognition of music? 
 
 3. What is said of the poetical and musical gifts of 
 St. Ambros? 
 
 4 . What was the nature of his musical reform upon 
 Us technical side; and what upon the spiritual? 
 
 ST. GREGORY, THE GREAT. 
 
 1. What he-came of St. Ambros' reform after his 
 death? 
 
 2. Who arose next to uphold the standard of pure 
 church music?
 
 FOR A NORMAL COURSE. 97 
 
 3. What was the nature of St. Gregor}-'s addition to 
 the musical theory of St. Ambros? 
 
 3. Describe the scales introduced by St. Ambros and 
 Gregory, and tell which of our modern church tunes 
 have been derived from them. 
 
 HUCBALD. 
 
 1. Who was llucbald, and wherein is he interesting 
 in musical history? 
 
 2. Describe his notation, and state what he meant by 
 the letters II and S. 
 
 3. What was Diaphony? 
 
 4. What was Organum? 
 
 CLASS B, ANTIQUITIES Oi' MUSIC. MKDLKVAL MUSIC. 
 
 1 . Who was Guido of Arezzo? 
 
 2. Describe the Neumes and the progress towards 
 notes and a staff. 
 
 3. What was the musical notation of Guido? 
 
 4. What progress does Guido mark in the direction 
 of harmonic discrimination? 
 
 FRANCO OF COLOGNE AND FRANCO OF PARIS. 
 
 1. Wh?t is the ground of the celebrity of Franco of 
 Cologne? 
 
 2. Describe his notation. 
 
 3. With what department of music is -the name of 
 Franco of Paris associated ? 
 
 4. What classifications did he introduce in harmony? 
 
 DUFAY AND EARLY POLYPHONY. 
 
 1. Who were the leading masters of the four great 
 epochs of the musical history of the Netherlands? 
 
 2. Give the personal history of Dufay.
 
 IKS ^('KST/OIVS FOR A NORMAL COURSE, 
 
 3. What are the contrapuntal features of his compo- 
 sitions that have come down to us? 
 
 1 . What is the limitation of his music upon the 
 aesthetic side? 
 
 OKEGHEM, DESPRES, WILLAERT AND GOMBERT. 
 
 1. Who was Okeghem, and what the style of his 
 niusi : 
 
 2. Who was Josquin des Pros, and what is said of his 
 music? 
 
 3. Who was Willaert, and what the nature of his 
 musical work? 
 
 4. What is said of Nicolas Gombert? 
 
 MARTIN LUTHEK AND THE PROTESTANT CHORALE. 
 
 1 . In what sense might Luther be taken as a forerun- 
 ner of the romantic? 
 
 2. How did Luther become influential in the musical 
 development of Germany? 
 
 3. What is a chorale, and will you mention a cele- 
 brated specimen composed by Luther? 
 
 4. What is said of the influence of the chorale beyond 
 the bounds of the Protestant church and in later times? 
 
 MEDIAEVAL SECULAR MUSIC. 
 (GENERAL CARD OF THIS CLASS.) 
 
 1 . What is meant by Folks Song? 
 
 2. What is said of the older Folks Song? 
 
 3. What of the Folks Song in later times? 
 
 4. Why have we so few examples of the older Folks 
 Song, and where in modern music can we trace their 
 influence?
 
 STUDIES IN MUSICAL HISTORT, 9<J 
 
 ORLANDO LASSUS. 
 
 1 . What objectionable tendency of style peculiar to 
 the earlier masters of the Netherland school did Lassus 
 completely overcome? 
 
 2. What is the rank and character of his works? 
 
 3. What position does he occupy in relation to the 
 Netherland masters? 
 
 4. What two principles was he the first to recognize 
 and employ? 
 
 I'AI.KSTUINA. 
 
 1 . Of what important school was Palestrina the first 
 and greatest composer? 
 
 2. How did Palestrina rank as a composer of church 
 music? 
 
 3. For what qualities are his works remarkable? 
 
 4. What was the condition of church music at the 
 time the Mass of Pope Marcellus was written, and what 
 did it demonstrate?
 
 100 
 
 STUDIES JiV MUSICAL IIlSTOltT. 
 
 CLASS C. OPERA. 
 
 CHAKACTKRIZATION OF OPERA. 
 
 1. Define and characterize the Opera. 
 
 2. What purpose is served by Kecitative, Aria and 
 Chorus respectively? 
 
 3 . Describe the prominent differences between French , 
 German and Italian Opera. 
 
 4. Describe the writer's ideal of opera. 
 
 DEFINITION OF QUALITIES OF OPERA. 
 
 1. State and define the qualities of the opera text. 
 
 2. State and define the qualities of the music of the 
 opera. 
 
 3. State and define the qualities of the orchestration 
 of opera- 
 
 4. What is meant by scenic demands? 
 
 EURYD1CE, IJY PKRI 
 
 1. What is Peri's chief claim to distinction among 
 musical composers? 
 
 2. What names are mentioned in connection with 
 Peri's in this study, and what is the relation of each to 
 the events described? 
 
 3. What is the musical character of this work? 
 
 4 . What is said of the stage accessories in these early 
 operas? 
 
 TAXCREDI, BY HONTEVERDE. 
 
 1. For what is Monteverde most celebrated in musi- 
 cal annals? 
 
 2. Describe the character and influence of his 
 "Orfeo."
 
 STUDIKS 7.V MCS/CAL HISTORY. 101 
 
 3. What is the character and importance of ''Tail- 
 ored i?" 
 
 1. To what position is Monteverde assigned in the 
 history of music? 
 
 AUMKUK, BY lA'LLI. 
 
 1 . What is Lulli's position as a composer of operas? 
 
 2. What were Lulli's chief characteristics? 
 .'. From what was French opera evolved? 
 
 4. What is said of his operas in general, and of Ar- 
 mede in particular? 
 
 TKODOKA. HV SCAULATTI. 
 
 1 . What is said of Scarlatti's rank and fecundity as a 
 musical composer? 
 
 2. What were Scarlatti's qualifications, and what is 
 said of the revival of his works? 
 
 3. What did Scarlatti contribute to the improvement 
 of the opera? 
 
 4. What is said of many of his librettos and the 
 present importance of his works? 
 
 ORI'IIKTS. I'.Y CLUCK. 
 
 1. In what respects does this opera differ from all 
 earlier and contemporary works? 
 
 2. What did (iluck's ideal contemplate, and from 
 what observations were his ideas derived? 
 
 3. What is G luck's position among opera writers of 
 his time, and what was the nature of his reform? 
 
 4. What is the character of this work? 
 
 DON CIOVAXXI. I;Y MOZART. 
 
 What is said of the libretto and subject of this 
 opera? 
 
 2. To what beauties of this work is its popularity 
 chiefly due 5
 
 KI2 A' TUDIES IN MUSIC A L HfS TO It T. 
 
 3. Of the dramatic and musical features of the work 
 which are most prominent? 
 
 4. How may we account for the disparity between 
 the musical and dramatic features of the work? 
 
 FIDELIO, BY BEETHOVEN. 
 
 1. How many operas did Beethoven compose, and. 
 upon what is the present work founded? 
 
 2. Describe the plot of the opera. 
 
 3. What is observed of the musical and dramatic 
 quality of this work? 
 
 4. How may we account for the fact that the music 
 is superior to the dramatic features of the opera? 
 
 DER FREISCHUETZ, BY WEBER. 
 
 1 . What is the relative importance of this work among 
 operas? 
 
 2. What is the story of the opera? 
 
 3. Give a general description of the incidents of the 
 plot. 
 
 4. What is said of the orchestration, and what phase 
 of character was first presented in this opera? 
 
 WILLIAM TELL, BY ROSSINI. 
 
 1. Where was Rossini born, and where educated, and 
 what are his principal operas? 
 
 2. Where is the action of the present work laid? 
 
 3 . What strong national characterization is mentioned 
 in the text? 
 
 4. What are the most notable beauties of this opera? 
 
 THE HUGUENOTS, BY MEYERBEER. 
 
 1 . Upon what is the plot of this opera founded? 
 
 2. Describe the first act of the opera. 
 
 3. Describe the fourth act. 
 
 4 . What is said of the score of the opera?
 
 STUDIES 7.V MUSICAL HISTORY. 103 
 
 lA'CIA DI LAMMEKMOOK, BY DONIZETTI. 
 
 1. How many operas did Donizetti compose, and 
 what is said of his characteristics as a musical writer? 
 
 2. What is the rank and character of this opera? 
 
 3 . What is said of the challenge scene? 
 
 4. Give other interesting particulars of the opera. 
 
 FAUST, BY GOUNOD. 
 
 1 . Describe the first and second acts of the opera. 
 
 2. Describe the third act. 
 
 3. Describe the fourth and fifth acts. 
 
 4. Upon what does the opera rest for its success? 
 
 AID A, BY VERDI. 
 
 1. Mention four of Verdi's most important operas 
 
 2. Upon what was the text of Aida founded, and 
 what were the circumstances of its first production? 
 
 3. What characteristics of the work are mentioned? 
 
 4. What is the implied difference between this and 
 the composer's earlier works? 
 
 TRISTAN AND ISOLDE, BY WAGNER. 
 
 1. What is the general character of this work, and 
 what did the composer seek to realize in its production? 
 
 2. What is the emotional character of the work? 
 
 3. What is said of its musical structure? 
 
 4. What is said of the opening phrase?
 
 10 4 XTl'D/ES IN MUSICAL JI/STOKT. 
 
 CLASS D. ORATORIO. 
 
 DEFINITION OF l v r A LIT IKS AND C1I AK A( TKUI/.VTION OF 
 OKATOB1O. 
 
 1. Define Oratorio and state from what source the 
 naiiK 1 \v-is derived. 
 
 2. What was the character and importance of Cava- 
 linc's Representation of the Soul and the Body? 
 
 3 . By what was Cavaliere 's work followed , what com- 
 posers were active in the second period of oratorio, and 
 what was the subject of their works? 
 
 4. Mention the primary qualities of Oratorio? 
 
 UEPUKSKNTATION OP SOUL AND BODY, BY CAVALIKKK. 
 
 1 . What were the points of resemblance and contrast 
 between the earliest oratorios and the earliest operas? 
 
 2. Upon what was the oratorio founded, and what 
 were the characters represented? 
 
 3. What three characters were represented in this 
 oratorio, and how were they treated? 
 
 4. What was the object of this oratorio, and what 
 were the circumstances of its production? 
 
 PASSION MUSIC, BY BACH. 
 
 1 . What is the character and importance of this ora- 
 torio? 
 
 2. To what is the scripture text largely set, and to 
 what characters assigned? 
 
 3. What is expressed in the chorus, and with what 
 \9 the text interspersed? 
 
 4. Give a further description of the work.
 
 STUDIES IN MUSICAL HfSTORT. 105 
 
 MKSSIAH.BY HANDEL. 
 
 1 . What is the rank and character of this oratorio? 
 
 2 . Describe the first part, mentioning the vocal num- 
 bers which it contains. 
 
 3. Describe the second part, giving its vocal numbers. 
 
 4. Describe the last part, and give a further charac- 
 terization of the work . 
 
 CREATION, BY HAYDN. 
 
 1 . What is the most striking characteristic of Haydn 's 
 Creation? 
 
 2. What are the principal choruses, and what is said 
 of their character? 
 
 3. What distinction is implied between this and many 
 of the most celebrated works of the present? 
 
 4. What is said of the technical knowledge and skill 
 and the dramatic quality displayed in this oratorio? 
 
 MOUNT OF OLIVES, BY BEETHOVEN. 
 
 1 . What is said of the quality of the libretto and the 
 style of the music in this work? 
 
 2. What solo voices are introduced, and what are the 
 principal numbers mentioned? 
 
 3 . What special point of merit does the work contain? 
 
 4. Give further interesting particulars of the work. 
 
 ELIJAH, BY MENDELSSOHN, 
 
 1 . On what occasion, and under whose direction , was 
 this work first produced? 
 
 2 . What are the scenes treated in this oratorio? 
 
 3. What are the most beautiful solos in the work? 
 
 4. What are the greatest choruses, and what thrilling 
 effect is described?
 
 10f) STUDIES IN MUSICAL HfSTORT. 
 
 LAST JUDGMENT, BY SPOHll. 
 
 1 . What numbers are introduced in the first part of 
 this work, and what is their character? 
 
 2 . With what does the second part open? 
 
 3 . Mention the principal numbers introduced in the 
 second part. 
 
 4. What is the character of the music of this comDO- 
 sition?
 
 STUDIES IN MUSICAL HISTORY. 107 
 
 CLASS E. SYMPHONY. 
 
 DEFINITION OF QUALITIES AND CHARACTERIZATION OF 
 SYMPHONY. 
 
 1 . Describe the conditions of the origin and devel- 
 opment of the Symphony. 
 
 2. Define the form of the Symphony, and state in 
 what respects it differs from the Sonata. 
 
 3. With whom did the symphony attain its purest 
 form, and what composers represent the romantic type? 
 
 4. Define the qualities of symphony. 
 
 " OXFORD," BY HAYDN. 
 
 1. What did Haydn do for the sonata form? 
 
 2. What did he contribute to instrumentation? 
 
 3. Describe briefly the various movements of the 
 work . 
 
 4. What is the general character of this symphony, 
 and what peculiarities of Haydn's music does it illus- 
 trate? 
 
 JUPITER, BY MOZART. 
 
 1. What is Mozart's relation to the development of 
 musical form? 
 
 2. What advantages had Mozart as a composer of 
 instrumental music which Haydn had not? 
 
 3 . What stage in the development of the S3 r mphony 
 form does the present work represent? 
 
 4. In what particulars does this work rank with the 
 best?
 
 1 H S TUDIBS IN M(JS TCA L 
 
 FIFTH IN C MINOR, BY BEETHOVEN. 
 
 1. How long is Beethoven supposed to have been 
 engaged upon this work? 
 
 2. What is the leading motive of this symphony and 
 how was it characterized by Beethoven? 
 
 3. What peculiarities of the work are referred to by 
 Sir George Grove? 
 
 4. Characterize the different movements of the work 
 in the language of the text. 
 
 SCOTCH A MINOR, BY MENDELSSOHN. 
 
 1 . From what is Mendelssohn supposed to have de- 
 rived the impressions which characterize this work? 
 
 2 . What characteristics of Mendelssohn are referred 
 to in the text? 
 
 3. Describe the second movement of the work. 
 
 4. Describe the adagio and finale. 
 
 O MINOR, BY SCHUBERT. 
 
 1 . What characteristics of Schubert are mentioned in 
 the text? 
 
 2. Describe the introduction to the first movement 
 of the present work? 
 
 3. How is the opening melody afterward treated? 
 
 4. What is the character of the allegro and of the 
 three remaining movements? 
 
 LES PRELUDES, BY LISZT. 
 
 1 . In what respect does the symphonic poem differ 
 from the regular symphony?
 
 STUDIES f.V MTSICAL HISTORY. 109 
 
 2 What inspired Liszt to the com position of this work? 
 
 3 . Characterize the work in the language of Lamartine . 
 
 4. How has Liszt realized these ''incidents of the 
 soul?" 
 
 DANCE OF DEATH, BY SAIKT-SAKN-. 
 
 1 . What is said of the scene described in this work? 
 
 2. Describe the scene portrayed to the introduction 
 of the "dance motive." 
 
 3 . Describe the scene following the introduction of 
 the "dance motive." 
 
 4. What has Saint-Saens said concerning "pro- 
 gramme music?"
 
 HO STUDIES IN MUSICAL HISTORY. 
 
 CLASS F. CONCERTO. 
 
 DEFINITION OF QUALITIES AND CHARACTERIZATION OF 
 CONCERTO. 
 
 1 . What is a Concerto? 
 
 2. What is the form of the Concerto? 
 
 3. From what class of music was the Concerto de- 
 rived and by whom were the earliest concertos written? 
 
 4. Upon what does the excellence of a concerto de- 
 pend . 
 
 EMPEROR E FLAT, BY BEETHOVEN. 
 
 1 . How many concertos did Beethoven write, and 
 what is the character of the first? 
 
 2. What work immediately preceded the Concerto in 
 E Hat? 
 
 3. What is the character of the present work? 
 
 4. Mention other interesting particulars concerning 
 this concerto. 
 
 E MINOR, BY PAGANINI. 
 
 1 . Why is the present work especially interesting? 
 
 2. What is meant by "natural harmonics?" 
 
 3. What was the object of using a single string for 
 "long scales and arpeggios?" 
 
 4. What questionable advantage did Paganini take of 
 the players who accompanied him? 
 
 G MINOR, BY SAINT-SAEN8. 
 
 1 . Describe the opening movement of this work. 
 
 2 . With what work is the present concerto compared , 
 and in what respects are they similar? 
 
 3. Describe the last movement. 
 
 4. What is said of the popularity of the work as a 
 whole?
 
 STUDIES IN MUSICAL HISTOR1. \\\ 
 
 E MINOU, BY CHOl'IN. 
 
 1 . What is said of Chopin's style? 
 
 2. Describe the first movement of the present work. 
 
 3. Describe the Romance. 
 
 4. Describe the closing Rondo , and mention other 
 interesting particulars concerning the work. 
 
 G MINOR, BY MENDELSSOHN. 
 
 1 . What characteristics of Mendelssohn does this 
 work illustrate? 
 
 2. What is said of Romanticism in this study? 
 
 3. What is said of the Classical in this study? 
 
 4. Of what is the present work a revelation? 
 
 A MINOR, BY SCHUMAN. 
 
 1. For what was the first movement originally in- 
 tended and what was the occasion of the earliest per- 
 formance of this work? 
 
 2. What is stated of Schumann and his works 
 generally? 
 
 3. Give a general description of this concerto. 
 
 4. What is said of the difficulties attending the per- 
 formance of the work? 
 
 E PLAT MAJOR, BY LISZT. 
 
 1 . To what facts is the originality of the present 
 work attributed and what is the character of the orches- 
 tral treatment? 
 
 2. To what period of the composer's life does the 
 present work belong? 
 
 3. Describe that part of the work which precedes the 
 Scherzo. 
 
 Describe the Scherzo and add other interesting particu- 
 lars of the work?
 
 112 STUDIES IN MUSICAL HISTORY. 
 
 CLASS G. SONATA. 
 
 DEFINITION OF QUALITIES AND CHARACTERIZATION OB- 
 SONATA 
 
 1 . Characterize the Sonata as a form of art. 
 
 2. What were the sources of its development and 
 what did it derive from each? 
 
 3. What was the original and what is the present 
 signification of the word "sonata?" 
 
 1 . Mention the names of those who have been promi- 
 nently identified with the history of this form. 
 
 F MINOR, BY C. P. E. BACH. 
 
 1 . What is C. P. PL Bach's relation to the history of 
 the Sonata? 
 
 2. What is the general character of the present work? 
 
 3. Of what two great composers is the style of this 
 work suggestive, and what characteristics of each does it 
 reflect? 
 
 4. What is said of the emotional quality of the work? 
 
 E FLAT, BY HAYDN. 
 
 1. What is Haydn's relation to the history of the 
 Sonata? 
 
 2. What service is attributed to C. P. E. Bach in 
 this study? 
 
 3. What final step did Haydn accomplish which con- 
 tributed materially to musical development and rendered 
 his works so popular? 
 
 4 . What other characteristics of Haydn 's are referred 
 to in this study?
 
 STUDIES ftf MUSICAL HISTORY. \ 13 
 
 C MINOR, BY MOZART. 
 
 1 . What is the rank and character of the present work? 
 
 2. Describe the opening Fantasie. 
 
 3. Of how many movements is the Sonata proper 
 com posed, and what is said of the Adagio? 
 
 1. What is said of the opening Fantasie, and of Mo- 
 /:!i I 's use of the Tonic Triad and the Dominant. Seventh? 
 
 APPASSIONATA, I'.V HKKTIU >VKN. 
 
 1. What is the rank and emotional character of this 
 Sonata: 
 
 2. Describe the first movement. 
 
 3. What is said of the lyric element in the key of A 
 Flat? 
 
 4. Describe the andante and finale. 
 
 A FLAT, I'.V WKIJKK. 
 
 1 . What important position does Weber sustain with 
 reference to the Classical and Romantic schools of music? 
 
 2. What is the general character of this work? 
 
 3 Describe the three movements referred to in the 
 text. 
 
 1 . Characterize the work by quoting the language of 
 Ambros. 
 
 A MINOR, BY SCHUBERT. 
 
 1 . Describe the surroundings amid which this work 
 was written. 
 
 2. What is the character of Schubert's genius as a 
 composer? 
 
 3. What is the character of his sonatas? 
 
 4. Describe this sonata.
 
 1 1 I STVDfES /N MUSICAL HISTORY. 
 
 G MISOK, BY SCHUMANN. 
 
 1. What is Schumann's rank in musical art, and 
 u-hat characteristics arc referral to in the text? 
 
 2. What is the character of the present work and 
 what innovation does it represent? 
 
 3. What is said of the three movements mentioned in 
 the text? 
 
 4. What points of contrast between the works of 
 Schumann and Beethoven are referred to in the text?
 
 .s Tl 'DIES IN MUSICAL HISTORY. \ 15 
 
 CLASS H. CHAMBER MUSIC. 
 
 DEFINITION OF QUALITIES AND CHARACTERIZATION OF 
 CHAMBER MUSIC. 
 
 1 . What does the term chamber music naturally im- 
 ply and for what class of players is it written? 
 
 '2. Wherein does chamber music differ from concerto 
 music? 
 
 3. What names are applied to chamber pieces and 
 what is the importance of the piano when employed? 
 
 4. What composers have produced the most beauti- 
 ful chamber music and what is said of each? 
 
 E FLAT QUARTET, BY BEETHOVEN. 
 
 1 . What is the importance of the string quartet, what 
 composers are mentioned and what is said of them? 
 
 2. What is meant by Beethoven's "third period," 
 and what is said of his later works? 
 
 3. What mental habits mark the closing years of 
 Beethoven's life and how did they affect his manner of 
 composing? 
 
 1 . Describe the present work? 
 
 QUARTET IN D MINOR, BY SCHUBERT. 
 
 1 . Describe the poem and song upon which this 
 quartet is founded. 
 
 2. Describe the first movement of the work. 
 
 3 . Describe the second movement and state what fol- 
 lows. 
 
 4. Jn what particular is the work especially interest- 
 ing?
 
 116 5 TUDIES IN MUSICAL HIS TOR Y. 
 
 QUAKTKT IN K KI.A'I , IJY SCIIfM A>;>. 
 
 1. What is the rank of this quartet; when and under 
 what auspices was it first produced? 
 
 2. Describe the first movement of the work. 
 
 3. Describe the second movement, the scherzo and 
 
 the finale. 
 
 4. What characteristics of Schumann are illustrated 
 
 in this work? 
 
 TRIO B FLAT MAJOR, BY HUUINSTKIN. 
 
 1. What in general is said of Rubinstein and his 
 characteristics as :i composer? 
 
 2. Give a general description of the present work. 
 
 3. What is said of the adagio, the scherzo and tin- 
 finale? 
 
 4. What defects are mentioned in the text and with 
 
 what qualifications? 
 
 QUARTET IN C MINOR, I5Y UKAIIM8. 
 
 1. In what respect does Brahm'd style resemble 
 Bach's and lieethoven's 
 
 2 . What is the character of the presen t work and 
 upon what plane must we seek for its real power? 
 
 3. Characterize the music of Bach. Beethoven and 
 Brahms? 
 
 4. Characterize this work in the language of the quo- 
 tation contained in the text. 
 
 QUINTKT, BY 8AINT-SAENS. 
 
 1. In what respects is Saint-Saens related to the 
 French and German schools?
 
 STf'DfES S.Y MCSfCAL HISTORT. H7 
 
 _*. What is the rank of this quintet and for what is 
 it remarkable: 
 
 o. What special beauties are refered to in the text? 
 
 4. What is said of its relation to the classic and 
 romantic? 
 
 O M vRTET, BY GR 
 
 I. What is said of Griefs' ancestry and education? 
 
 ~1. What characteristic does he possess in common 
 with Chopin? 
 
 > . What does his music suggest or re-- 
 
 4 . Describe the present work and state wherein Grieg 
 is allied to the romantic school.
 
 118 5 TUDIES IN MUSIC A L HIS TO It T. 
 
 CLASS I. SONG. 
 
 DKKIN1TION OK DUALITIES AND CHARACTERIZATION OF SONG. 
 
 1 . What is meant by song and what does the term 
 imply? 
 
 2. What is a ballad and what class of songs does the 
 term imply? Give examples 
 
 3. Describe the German song and the French 
 "Chanson.'' 
 
 4 . AVhat is an Aria? 
 
 ADELAIDE, BY BEETHOVEN. 
 
 1. What is said in this study of Beethoven's nature? 
 
 2. How does the present work illustrate these char- 
 acteristics? 
 
 3. Describe the first movement of the song 
 
 4. Describe the second movement. 
 
 ERL KING, BY SCHUBERT. 
 
 1 . What is the Erl King in Scandinavian and Ger- 
 man mythology? 
 
 2. Describe the poem and the song. 
 
 3. Mention the circumstances attending the produc- 
 tion of the Erl King. 
 
 4. What other important facts are given in the text? 
 
 NON E VER, BY MATTEL 
 
 1 . Of what class of songs is Non e Ver an illustration 
 and what is the character of the melody? 
 
 2. To what is its effect chiefly due. 
 
 3. What is said of this class of songs? 
 
 4t Give ft general description of this work,
 
 STUDIES IN MUSICAL HISTORY. H9 
 
 HE, THE NOBLEST, BY SCHUMANN. 
 
 1 . In what respects did Schumann surpass Schubert 
 in the composition of the poetic and descriptive song? 
 
 2. What is the importance of the pianoforte in Schu- 
 mann's songs? 
 
 3. What did Schumann seek to express in his songs, 
 and what considerations did he disregard to attain this 
 end? 
 
 4. To what event in Schumann's life is this song re- 
 lated, and what is its character? 
 
 PALM BRANCHES, BY FAURE. 
 
 1. Describe the two principal types of French song. 
 
 2. What qualities render songs like this effective for 
 the concert room , and why are they less appropriate for 
 the church? 
 
 3. Describe Palm Branches. 
 
 4. In what respect is the melody of this work one of 
 the most remarkable? 
 
 HOME, SWEET HOME, BY BISHOP. 
 
 1 . What docs this song most truly represent? 
 
 2. What do we know of the history of the song? 
 
 3. What differences between the English and Scotish 
 folk-songs and the German folk-songs are referred to in 
 the text? 
 
 4. How do songs like this differ from the Italian, and 
 what is their rank from an aesthetic standpoint? 
 
 LOST CHORD, BY SULLIVAN. 
 
 1 . In what respects does this song rank with the best? 
 
 2. Ity whom was the poem Lost Chord written, and 
 what imaginary incident does it describe? 
 
 3 . What is said of the music of the song? 
 
 4. Between what two classes of songs does this work 
 stand, and why?
 
 120 STUDIES IN MUSICAL HISTORY. 
 
 MISCELLANEOUS. 
 
 THE CLASSICAL IN MUSIC. 
 
 1. Define the term Classic, and state the conditions 
 upon which a musical work may be so designated . 
 
 2. Name and define the elements of classic merit. 
 
 3. Who were the prominent classical composers, and 
 what is said of the best of their works? 
 
 4. AVhat are the forms of the classic, and what misuse 
 of the term is mentioned? 
 
 LITERARY INTERPRETATION. 
 
 1 . What is said in this study of the eighteenth and 
 nineteenth centuries, and what composers represent the 
 extreme tendencies in music during this time? 
 
 2. What is "programme music?" 
 
 3. Under what limitations may literary aids to musi- 
 cal interpretation be helpful? 
 
 4. What eminent composer has written works of un- 
 mistakable realism; what are they, and what do they 
 suggest? 
 
 THE HISTORY OF MUSIC. 
 
 1 . How may we correctly estimate the creations of 
 the human mind , and why is music its most perfect mirror? 
 
 2. To what is the study of musical history a reliable 
 guide, and what does it teach?
 
 STUDIES IN MUSICAL HISTORY. 121 
 
 3 . Besides the instruction afforded by the study of 
 the history of music, what other benefits does it confer? 
 
 4. Why is a musical education imperfect without a 
 knowledge of musical history? 
 
 TYPICAL MUSICAL FORMS. 
 
 1. What is meant by "form" in music? 
 
 2. Define the principle of Unity in musical form. 
 
 3. Define Symmetry and Contrast. 
 
 4. From what two roots are all musical forms de- 
 rived? Describe them. 
 
 FUGUE. 
 
 1 . Define the Fugue. 
 
 2. Define the "Subject," "Exposition," "Answer" 
 and "Counter Subject" of the fugue, 
 
 3. Define the "Interlude" of the fugue. 
 
 4. Explain the limitations and usages governing the 
 last exposition. 
 
 FANTASIA. 
 
 1. Give the general definition of the term fantasy 
 and explain the meaning of "Fantasia" in its applica- 
 tion to music. 
 
 2 . What was the original use of the term fantasia and 
 what has been its signification in later periods. 
 
 3. What relation has the fantasia in one generation 
 to the generation next following. 
 
 4 . What variety of works may be classed under this 
 term and what ire its limitations?
 
 122 STUDIES IN MUSICAL HISTORY. 
 
 urUJTIES OF ETUDES. 
 
 1. What is the meaning of the word Etude and what 
 class of musical com positions is included under this term? 
 
 2. Mention works which are of equal value from a 
 musical and from a mechanical standpoint. 
 
 3. AVhat class of etudes occupies the lowest place in 
 the scale of value? Mention composers. 
 
 4. What other class of etudes is mentioned? Name 
 representative composers. 
 
 NOCTURME. 
 
 1. Give the derivation and explain the character of 
 the composition designated by the word Nocturne. 
 
 2. Who invented the nocturne and what is the char- 
 acter of his works in this form? 
 
 3. Who surpassed Field in this department of musical 
 composition and wherein did he excel? 
 
 4. Characterize some of the nocturnes of Chopin . 
 
 THE MADRIGAL. 
 
 1 . Explain the signification of the word Madrigal. 
 
 2. Give an account of the origin and early history of 
 the madrigal. 
 
 3. What Netherland and Italian composers produced 
 works in this form and when was it introduced into 
 England? 
 
 4. Mention some of its related Part-songs and de- 
 scribe them. 
 
 THE MASS. 
 
 1 . What is meant by "Mass?" 
 
 2. Give the names of the texts and sub-texts of the 
 mass.
 
 STUDIES S.V MUSICAL HISTOKT. 123 
 
 3. What is said of the origin an<l enrly history of the 
 music of the mass? 
 
 4. What composers have written the greatest works 
 in this form and what are they? 
 
 REQUIEM. 
 
 1 . Describe the Requiem. 
 
 2. Give title and description of Palestrina's great 
 Requiem 
 
 3. What is said of Mozart's Requiem? 
 
 4. What other important works in this form are 
 mentioned? 
 
 TE DEUM 
 
 1 . Give the origin , character and early history of the 
 Te Deum . 
 
 2. Describe Purcell's Te Deum. 
 
 3. What is said of Handel's "Utrecht" Te Deum? 
 
 4. Describe Berlioz's Te Deum. 
 
 WITHOUT WORDS. 
 
 1 . State the points of distinction between the Clas- 
 sical and Romantic schools, as defined in this study. 
 
 2. What was Mendelssohn's position in musical art 
 with reference to these two schools? 
 
 3 . What did Mendelssohn seek to express in his Songs 
 Without Words, and are they classical or are they ro- 
 mantic? 
 
 4. What influence have these works exercised upon 
 later compositions?
 
 124 STUDIES IN MUSICAL HISTORY. 
 
 KEY TO PRONUNCIATION. 
 
 1. Give the sounds of the Italian vowels. 
 
 2. Give sounds of the separate vowels in German. 
 
 3. When two vowels occur together in the same syl- 
 lable in a German word, which should be sounded? 
 
 4. Give sounds of the separate vowels in French. 
 
 THE PRINCIPLES OF THE BEAUTIFUL. 
 
 1 . To what does a work of art first appeal, what im- 
 pressions is it capable of producing, and upon what does 
 it depend for its claim to popularity? 
 
 2. Beyond the agreeable impressions of seeing or hear- 
 ing, what other kind of pleasure does a work of art afford? 
 
 3. What is the highest pleasure derivable from art? 
 
 4. Explain the three planes of aesthetic pleasure af- 
 forded by art. 
 
 DEFINITION OF THE ROMANTIC. 
 
 1. Define Romantic in its general sense, and also in 
 its application to music 
 
 2. When did the romantic spirit begin to be promi- 
 nent in music, and what was the first distinctly romantic 
 composition? 
 
 3. What three great masters of the Romantic school 
 followed Von Weber, and what is said of their music? 
 
 4 . What are the characteristic forms of the romantic . 
 and what is meant by "sensationalism" and "realism" in 
 music?
 
 INSTRUCTIONS. 125 
 
 INSTRUCTIONS. 
 
 SECTION I. CLASSIFICATION OF THE CARDS, 
 
 There are three kinds of cards in the Studies, which 
 follow slightly different rules for acquisition and com- 
 bining. 
 
 1. SPECIFIC CARDS, bearing a class letter, "A," "B," 
 "C," etc., each one devoted to some particular composer, 
 work, or period. With four exceptions all specific cards 
 bear qualitative anatyses of the subjects to which they 
 are devoted. The exceptions are in Class A, "Early 
 Christian Music;" and in Class B, "Martin Luther," 
 "Okeghem," and "Palestrina." The qualitative valua- 
 tions were omitted from these in order to gain space for 
 important historical matter, and also because the state of 
 music in the period to which they refer is shown on other 
 cards of the same period. These cards are treated in the 
 game precisely the same as the other specific cards, ex- 
 cepting that it is not possible to augment the valuation 
 of books by agreement among them. (See Sec. III). 
 Specific cards combine with others of the same class, 
 with general cards of the same class, or with unclassified 
 general cards. 
 
 2. CLASSIFIED GENERAL CARDS, bearing class letters 
 "A," "B," "C," "D," etc., and without qualitative
 
 1 2 6 ftfS TR UC TIONS. 
 
 analyses. These combine only with specific cards of the 
 same class or with unclassified general cards. The gen- 
 eral card of Class A is "Definition of Music," and in 
 Class B "Mediaeval Secular Music." 
 
 3. UNCLASSIFIED GENERAL CARDS, not bearing the 
 class letters at the top. These combine with each other 
 or with cards of either of the two other classes. 
 
 SECTION II. HOW BOOKS ARE COMPOSED. 
 
 1 . Two specific cards of the same class and two gen- 
 eral cards, which must be either of the same class as the 
 specific cards or else unclassified. As there is only one 
 class, (C), in which two general cards occur, the combi- 
 nation of two specific cards with two general cards of the 
 same class is possible only in this department, namely, 
 Opera. 
 
 2. Three specific cards of the same class, and one 
 general card, which must be of the same class as the 
 specific cards with which it is associated , or else an un- 
 classified general card. 
 
 3. Four specific cards of the same class. 
 
 4. In grade 15, and during the continuation of this 
 course, four unclassified general cards may be combined 
 into a book having a value of 8. 
 
 This rule applies also to Grades 9 to 1 2 of the Normal 
 Course. 
 
 5. No other combination is admitted as composing a 
 book. Every book, except those under rule 4, must 
 contain at least two specific cards. 
 
 G. As the exercise proceeds a book may be formed at 
 any time by any one who may secure the requisite cards. 
 It is discretionary, however, with those participating to 
 form their books when they choose. Since all books are
 
 AVS TR UC TIONS . 127 
 
 not equally valuable, it is usually better to defer making 
 up a book, even though there may be a sufficient number 
 of cards of a class in the player's possession to render it 
 possible, until he shall have secured certain cards which, 
 when put together, will give the book the highest value 
 attainable. This introduces an element of enterprise 
 into the game, since by retaining the cards he incurs the 
 danger of having them called from him . (See Sec. Ill .) 
 AVhen a book is formed, the possessor, when discarding 
 it from his hand, must announce the subjects of the cards 
 of which it is composed. Special attention should In- 
 given to this announcement, as otherwise the participants 
 will incur the disadvantage of calling for cards already 
 disposed of. 
 
 The player will do well in making up books before the 
 end of the game, to take care and retain in his hand at 
 least one specific card of every class, since without the 
 aid of the list of titles at the top of these cards he will 
 often be unable to recall the names of the cards he might 
 ask for. 
 
 SECTION III. VALUE OF THE BOOKS. 
 Inasmuch as the game turns upon the points acquired 
 by adding together the value of the different books that 
 each player may be able io make up during the progress 
 of the exercise, when the acquisition of cards ceases, 
 (see Sec IV) , the following principles of valuation are 
 important. 
 
 1 . Any book counts 1 . 
 
 2. This valuation may be increased in two ways: 
 1st by agreements between the valuations on the specific 
 cards, or 2nd by superior value of the classified general 
 pards, as follows;
 
 1 28 INSTRUC TIONS. 
 
 3. Two specific cards (of the same class) agreeing in 
 one valuation of quality, adds 1 to the value of the book . 
 The coincidence of two or more ciphers among valua- 
 tions is not counted . The ciphers merely signify that 
 the quality in connection with which they occur had not 
 yet begun to appear in music. Only the significant 
 figures are counted in estimating agreements of qualita- 
 tive valuation . 
 
 4. Two specific cards agreeing in two valuations adds 
 
 2 to the value of the book . 
 
 5. Two specific cards agreeing in three qualities adds 
 
 3 to the value of the book. 
 
 6. And so on, adding 1 for every agreement of valu- 
 ation between two specific cards. 
 
 7 . Three specific cards agreeing in one valuation adds 
 2 to the value of the book . 
 
 8. Three specific cards agreeing in two valuations 
 adds 4 to the value of the book. 
 
 9. Three specific cards agreeing in three valuations 
 adds 6 to the value of the book. 
 
 10. And so on, adding 2 for every element of agree- 
 ment between three specific cards in a book. 
 
 11. Four specific cards agreeing in one valuation 
 constitute i book valued at 10. This combination is 
 possible ir every class except Class B. 
 
 12. A Classified general card adds 1 to the value of 
 a book . 
 
 13. T^o classified general cards add 2 to the value 
 of a book. Note. This combination is possible only in 
 Class C. 
 
 14. A-'ttk' grade 15 in the regular course, and in 
 grades 9 :*> :<2 of the normal course, any four unclassi- 
 fied, general cards form a book, which is valued at 6.
 
 INSTRUCTIONS. 129 
 
 15. Hence the value of a book is ascertained 1>- 
 
 ing to the 1 in rule 1 as many additional points as can 
 be found for it under the remaining rules, with two ex- 
 ceptions, viz.: 1st, when a book is composed of four 
 specific cards agreeing in the valuation of one quality, 
 (see rule II, sec. Ill), its total value is 10; 2d, when a 
 book is composed of four unclassified general cards, (see 
 rule 14. sec. Ill), its total value is 6. 
 
 SECTION IV. HOW TO ACQUIRE THE CARDS. 
 
 1 . As no advantage attaches to the privilege of deal- 
 ing, it does not matter which one of the participants 
 first performs this office. It may be determined by lot. 
 After reducing the pack to the requirements of the 
 grade, (Sec. V), and shuttling the cards well, the dealer 
 gives each player in turn one card until each player has 
 four. The remainder of the pack is placed face down- 
 wards in the center of the table. 
 
 2. All the players now inspect their cards, with a 
 view of ascertaining what cards they can best employ to 
 complete or advance a book, (Sec. II and III). 
 
 3 . The player at the left of the dealer has the first 
 call; he has the right to demand of any other player he 
 may happen to select, a card, of a class of which he 
 holds representatives in his hand. In case he is unfa- 
 miliar with the game, he will find at the top of nearly 
 every specific card the titles of all the cards in the class. 
 This will serve to prompt him. In calling a card he 
 must conform to the requirements of the grade as to the 
 class and the grade. (See Sec. V.) These require- 
 ments should be looked up in the accompanying vol- 
 ume, and placed where they can be readily consulted. 
 If he asks for the card desired, in the form required in,
 
 130 INSTRUCTIONS. 
 
 the Grade of the Exercise, the holder is obliged to sur- 
 render it; proper asking in the higher grades includes 
 the caller answering whatever question the grade may 
 require, after the player called has acknowledged that he 
 possesses the card . When the question is correctly an- 
 swered, or the demands of the lower grades met, the 
 card is surrendered. The caller then has the right to 
 demand any other card he may desire from the same or 
 any other player, the card being surrendered in every 
 instance whenever the requirements of the grade have 
 been complied with . When he demands a card which 
 the player called does not hold, he must draw the top 
 card from the pack; if this happens to be the card de- 
 manded from the last player called, he must show it to 
 the participants, (to insure good faith), whereupon he 
 has a right to call again from any player any other card 
 desired. His right to call ceases whenever he fails to 
 obtain the card called, either from the player or by 
 drawing it from the pack. 
 
 4. The next player upon the left then has the right 
 to call, which he may exercise upon any player among 
 the participants, irrespective of order of precedence. 
 His right to call ceases whenever he fails to obtain the 
 desired card, either from the participant from whom he 
 called it, or from the pack. 
 
 5. The acquisition of cards continues until the pack 
 is exhausted, whereupon the players proceed to make up 
 whatever combinations of books they are able from the 
 cards in their possession . In doing this they will find 
 considerable latitude for choice, in pursuit of more 
 profitable combinations. The cards remaining in their 
 hands uncorabined are discarded, The results of the 
 game are then computed for each player in turn, accord-
 
 fNSTRUCTIONS. 131 
 
 ing to the valuation of books in Sec. III. Of these a 
 record must be kept in a book provided for the purpose, 
 in order that the pri/.es may be properly awarded, and 
 that the progress of the various players may be more 
 accurately measured. 
 
 SECTION V. 
 
 REQUIREMENTS OF TIIK 1>R<>< i UKSS1YE GRADES. 
 
 As the prime object of these studies is that of master- 
 ing all the information embraced in all the 96 cards, (an 
 amount of information equal to a good-sized volume) 
 the just apportionment of this work among all the suc- 
 cessive exercises of the course becomes important in- 
 deed indispensable to success. The rapidity with which 
 the class may advance will depend very materially upon 
 the age of the students and their disposition with regard 
 to devoting study to the preparation of the work for the 
 next-coming grade. Hence it is impossible to prescribe 
 any one exact course which ought under all circtmstances 
 to be followed. Accordingly we have devoted no small 
 attention tc the details of an elaborate course of over 
 forty lessons, which will finally result in bringing out all 
 the information upon the entire 9 6 cards without render- 
 ing the various steps onerous to average students of 
 grammar grades in school. When the class consists of 
 more advanced mental habits, such as those of the eighth 
 grammar grade or the first year high school, the course 
 may be shortened at the discretion of the teacher, by 
 combining in a single meeting the information here appor- 
 tioned to two or more successive grades. In place of this, 
 when the interest and seriousness of the student war- 
 rants such a proceeding, the Normal course of twelve 
 lessons may befollowed. Ohgerve tbat the same grade 
 10
 
 132 
 
 is continued throughout the evening or session of the 
 class in which it was begun. As it only requires about 
 fifteen minutes to go through the game once, during the 
 hour or hour and a half of the session the same grade will 
 be gone through with from five to six times, and in this 
 way the information becomes more and more familiar. 
 In advanced stages of the studies it will be optional with 
 the teacher to conduct some of the later exercises of the 
 session according to the requirements of an earlier grade, 
 for the purpose of review. 
 
 In both these courses the first intention is that of making 
 the student familiar with the general range of the subjects, 
 the names and dates of the principal composers, and the 
 names of his principal works in every department. 
 Much is to be learned from handling the cards in this 
 way, when as yet no information is required beyond the 
 correct pronunciation of titles, names and the dates ap- 
 pertaining thereto. Through the mere effort to acquire 
 cards, the student unconsciously is beguiled into know- 
 ing many things of general musical knowledge, which at 
 the end of the proceeding he may not be able to remem- 
 ber having tried to learn . This process goes through 
 the entire course; every lesson makes the player more 
 and more familiar with the different provinces of musical 
 effort covered by the exercise, and this while his main 
 conscious attention is devoted to the specific information 
 ui)on the new cards added latest to the pack in use. 
 
 Most of this general information is deducable from 
 the upper parts of the cards; but as it is not possible to 
 obtain a clue to the missing unclassified general cards in 
 this way, they are not called from one player to another 
 until after the first fifteen grades, by which time the 
 players will have become familiar with most of them
 
 INS TR UC 7 IONS. 133 
 
 through frequent seeing. Every exercise is to be con- 
 ducted strictly according to the following requirements, 
 specific to the progressive grades in which the exercise 
 is conducted. 
 
 Grade 1. The first eight grades are played with 
 a part of a pack only, in order to render the stu- 
 dent sooner familiar with the information. Begin by 
 discarding from the pack all the cards of classes E, F,G 
 and II, and the unclassified general cards not hereafter 
 named. Take all the cards of classes A, B, C, D and the 
 unclassified general cards. " Madrigal," " Mass," k ' Re- 
 quiem," 4 ' Te Deum," " Principles of Pronunciation," 
 Principles of the Beautiful," ' k The Classical in Music" 
 and "Definition of the Romantic." The eight unclassi- 
 fied general cards are not called from one player to an- 
 other, but may be used in completing combinations for 
 books, according to Sees. II and III. All other cards 
 may be called from one player to another, according to 
 the directions in 8ec. IV. and the particular restrictions 
 )f the grade, as here following: 
 
 Requirements: Any card of classes A, B, C and D 
 must be surrendered to the player asking for it, when 
 mentioned by its proper title. 
 
 In making up books the players will need to consult 
 Socs. II and III, in order to secure the greatest number 
 of credits possible b}' fortunate combinations of cards 
 they hold. 
 
 Grade 2. The pack remains the same as in the previ- 
 ous grade. There are no additional requirements, ex- 
 cept that the pronunciation of names and titles used must 
 be correct. The object of this grade is to still further 
 familiarize the students with the general range of the in- 
 formation upon the cards.
 
 134 
 
 MS TR UC TIONS. 
 
 In case of a demand being made upon one of the par- 
 ticipants for a card which he holds, and the name or title 
 being incorrectly pronounced, the card may be retained 
 and not surrendered. If, however, the player have the 
 card he must so state, and also give the ground for his 
 refusal to surrender it; whereupon the caller must pro- 
 ceed to draw from the pack, exactly as if the card had 
 not been in the hand of the player called. In case of a 
 dispute as to the accuracy of the pronunciation, it must 
 be repeated and put to vote of the entire number of par- 
 ticipants, the phonetic spelling upon the cards serving 
 as standard, the vote of a majority determining the 
 point whether the card demanded should or should not 
 have been surrendered. Contests of this kind are edu- 
 cational in their influence upon all concerned in the exer- 
 cise. 
 
 Grade 3. The pack remains as in the previous exer- 
 cises. Requirements: Classes A and B; in demanding a 
 card of either of these classes the player must give also 
 the date at the upper left hand corner of the card . Un- 
 less the date is given, the player need not surrender the 
 card. 
 
 Classes C and D; the name of composer of work named 
 upon the card asked for, belonging to these classes, must 
 be given as well as the title. Correct pronunciation is 
 required here and every wheie else through the remain- 
 ing grades. Disputes are to be settled by appeal to the 
 cards and a decision of the majority playing. 
 
 Grade 4. The pack remains as in the previous grades. 
 Requirements: Classes A and B; both dates must be 
 given (upper right and left hand corners) . In classes C 
 and D correct pronunciation of titles and composers' 
 luuiii's of specific cards called. Disputes to be settled as 
 before.
 
 INSTRUCTIONS. 135 
 
 Grade 5. By this time the players have become fam- 
 iliar with the range of the cards, the subjects upon them 
 and the principles of making books, and therefore the 
 most effective manners of combining the cards accumu- 
 lated during the acquisition of cards. It is now time to 
 begin more formally upon the solid information which 
 the cards were intended to convey. Hence the following 
 requirements: 
 
 Classes A and B. Cards are surrendered only upon 
 the caller being able to answer question No. 1 assigned 
 to each card of these classes. Cards of Classes C and D 
 will be surrendered onl^y when the date and place of pro- 
 duction of the work is given (except in the few instance- 
 where this information has not been embodied upon the 
 cards.) 
 
 Note. It is not expected that the very words of 
 the question in the book will be committed to memory. 
 All that is asked is that the caller be able to answer any 
 question covering the first point of information in the 
 text upon the card. In case of a dispute between the 
 caller and the called, the question must be restated, the 
 answer given, and the corresponding part of the text of 
 the card read aloud; a majority vote of the participants 
 will determine whether the card shall or shall not be 
 surrendered. Should the player holding the card de- 
 manded be unable to recall the question , or frame another 
 requiring the same information for its full and correct 
 answer, he must surrender the card. 
 
 Grade 6. The pack remains as before. 
 
 Requirements preliminary to surrendering cards: 
 Classes A and B, the same as in the previous grade. 
 
 Classes C and D: the date of birth of composers 
 mentioned .
 
 136 
 
 FNSTRUCTIONS. 
 
 Grade 7. The pack remains the same as before. Re- 
 quirements: Classes A and B; give dates upon both upper 
 corners, covering date of birth and death or the begin- 
 ning and end of period to which the card is devoted. 
 
 Classes C and D. Dates of birth and death of com- 
 posers. (For example: suppose the caller demands 
 "Armide," Lulli, Class C, he must also give the dates 
 of Lulli, namely 1633-1687. And so on in other cases. 
 Where there is no date at the top of the card, as in some 
 of the cards of Class B, the dates must be obtained from 
 the body of the text. In case of cards devoted to more 
 than one composer, the dates of the first will be suffi- 
 cient in this grade) . 
 
 Grade 8. The pack remains as before. Require- 
 ments: Before surrendering any card of Classes A, B, 
 C and 1), the player holding them has the right to de- 
 mand of the caller that he answer the first question upon 
 the card called, when properly asked. 
 
 It will be remembered that the first question was al- 
 ready applied to the cards in classes A and B in grades 5 
 and 6, hence the new matter in this grade comprises only 
 the first questions upon the cards of classes C and D. 
 
 Grade 9. Add to the pack, previously in use, all the 
 cards of class E and two unclassified general cards, 
 namely, "The Fantasia' ' and "The Song without Words . ' ' 
 These two latter, like all the other unclassified general 
 cards, are not yet called from one player to another, but 
 remain the property of the player acquiring them from 
 the pack. Requirements: Cards of class E are surren- 
 dered only upon the caller giving correct pronunciation 
 and the names and dates of composers. All other call- 
 able cards are surrendered, as in grade 8, upon the caller 
 answering the first question relating to the text.
 
 INSTRUCTfONS. 137 
 
 Grade 10. Add the cards of class F and two unclassi- 
 fied general cards, namely, ' ; The Fugue" and "The 
 Etude." Requirements: Cards of class F are surren- 
 dered when the demand is coupled with the name and 
 dates of the composer of the work whose card is called. 
 Classes A, B, C, D and E, only upon the ability of the 
 caller to answer the first question upon the text. 
 
 Reward. At the tenth exercise a reward should be 
 given to the student who has attained the greatest number 
 of credits during the entire ten exercises. For this pur- 
 pose a record must be kept and the credits of each suc- 
 cessive exercise added to the total already attained. This 
 reward should take the form of a valuable musical work, 
 and in order that the expense of this part of the course 
 may be as little as possible, the publishers have arranged 
 to furnish suitable books for this purpose (only) at 
 merely nominal prices. 
 
 Grade 1 1 . Add to the pack used in the previous grade 
 all the cards of class G and the two general cards " The 
 Nocturne " and " Typical Musical Forms." 
 
 Requirements: Cards of Class G are surrendered only 
 upon the caller giving names of composers, correct pro- 
 nunciations and dates of birth and death of composers. 
 Class F; the caller must be able to answer the first ques- 
 tion. All other cards are surrendered upon answering 
 the first question. 
 
 Grade 12. Add the cards of Class II and the general 
 cards, "Literary Interpretations in Musical ./Esthetics," 
 and "Musical History and Why it should be Studied." 
 
 Requirements: Names and dates of composers upon 
 Class H, and place and date of works to which the card 
 is devoted when given on card. First question of all 
 other cards.
 
 138 INSTRUCTIONS. 
 
 G rade 1 3 . Add the cards of Class I . 
 
 Requirements: Names and dates of composers of works 
 on cards of Classes A, B, C, D, E, F, G. Class II, first 
 question . 
 
 Grade 14. Requirements: Classes A and B second 
 question; Classes C, D, E, F, G and II names and dates 
 of composers; Class I, first question. 
 
 Grade 15. In this grade the unclassified general cards 
 are made subject to call from one player to another, pre- 
 cisely the same as the specific cards. By this time the 
 players ought to be familiar with the names of the un- 
 classified general cards, from having often held them in 
 their hands. 
 
 Requirements: Unclassified general cards will be sur 
 rendered only upon correctly answering the first question 
 upon their subject matter. Cards of Classes A, B, C and 
 D mil be surrendered only upon correctly answering the 
 second question on their text. Classes E, F, G, H and 
 I, upon correctly giving the names and dates of the com- 
 posers 
 
 Grade 16. In the succeeding grades, Classes A, B, C 
 and D, and Classes E, F, G and H, may be alternately 
 omitted, thus avoiding an unnecessary repetition of 
 questions and answers, and concentrating the attention 
 more exclusively upon the new requirements which are 
 introduced in each grade. This omission may not be 
 practicable when eight or more persons are engaged, and 
 in such instances all the cards may be retained . In the 
 following grades it will be understood that when the word 
 "omiY" occurs before the statement of requirements, the 
 classes to which those requirements refer, may be omitted. 
 
 Requirements: Classes A, B, C and D, (omit), an- 
 swer the second question assigned to the card required.
 
 INSTRUCTIONS. 139 
 
 Classes E, F,G and II, answers to first questions. Class 
 I, and unclassified cards, answers to first questions. 
 
 Grade 17. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 16. E, F, G, H and I, answer 
 to second question. Unclassified cards, same as in Grade 
 15. 
 
 Grade 18. Requirements: Classes A, B, C and D, 
 (omit) , same as in Grade 16. E, F, G and H, same as in 
 flrade 17. I and unclassified cards, correct answer to 
 second question. 
 
 Grade 19. Requirements: Classes A, B, C and D, 
 answer to third question. E, F, G and H, (omit), same 
 as in Grade 17 . I and unclassified cards, same as in Grade 
 18. 
 
 Grade 20. In this and in all subsequent grades, both 
 Classified General Cards, and Unclassified General Cards, 
 can only be exchanged three times upon the requirements 
 assigned. After a card of the above mentioned kinds, 
 has changed hands three times, it shall remain in the 
 possession of the plaj'er last acquiring it unless the cor- 
 rect answer to the question next following the one 
 assigned in this grade be given. For example, 
 Characterization of Opera, may be exchanged but three 
 times in the present grade upon the third question, What 
 purpose is served by the Recitative? being correctly 
 asked and answered, but it may continue to be exchanged 
 if the fourth question, "What is expressed in the Arias? 
 be answered. The continued possession of the card de- 
 pends, however, upon its possessor being able to ask the 
 next question as a means of defense. Should the card 
 be demanded of him a fourth time, he must surrender it 
 upon the correct answer to the third question being given , 
 unless he is able to ask the fourth question, when his op-
 
 140 
 
 MSTRUCTIONS. 
 
 ponent must answer it correctly before he can secure the 
 curd. The card may then change hands any number 
 of times upon the question next following the one as- 
 signed in this grade being properly asked and correctly 
 answered, and the rule applies to all the following grades 
 of the entire course. Should participants so mutually 
 desire and agree the above rule may apply to all the cards. 
 
 Requirements: Classes A, B, C and D, (omit), same 
 as in Grade 19. E, F, G and II, ansiver to third ques- 
 tion. I and unclassified cards, same as in Grade 18. 
 
 Grade 21. Requirements: Classes A, B, C and D, 
 same as Grade 19. E, F, G and H, (omit), same as in 
 Grade 20. I and unclassified cards, answer to third 
 question . 
 
 Grade 22. Requirements: Classes A, B, C and D, 
 answer to fourth question. E, F, G and H, (omit), same 
 as in Grade 20. I and unclassified cards same as in 
 Grade 21. 
 
 Grade 23. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 22. E, F, G and H, answer 
 to fourth question. I and unclassified cards same as in 
 Grade 21. 
 
 Grade 24. Requirements: Classes A, B, C and D, 
 same as in Grade 22. E, F, G and H, (omit), same as 
 in Grade 23. I and unclassified cards ansiver to fourth 
 question. 
 
 Grade 25. Requirements: Classes A, B, C and D, 
 answer to fifth question. E, F, G and H, (omit), same 
 as in Grade 23. I and unclassified cards, same as in 
 Grade 24. 
 
 Grade 26. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 25. E, F, G and H, answer to 
 fifth question. I and unclassified cards, same as Grade 24.
 
 tNSTRUCTfONS. 141 
 
 Grade 27. Requirements: Classes A, B, C and 1), 
 same as in Grade 25. E, F, G and II, (omit), same as 
 in Grade 26. I and unclassified cards answer to fifth 
 question. 
 
 Grade 28. In this grade for the purpose of testing 
 the memory and affording a slight review the possessor 
 of a card may ask and demand an answer to any one of 
 the first five questions before surrendering the card. 
 The teacher or players may introduce this diversion as 
 often as may seem desirable. Requirements: Classes A, 
 B, C, D, E, F, G, II, I and unclassified cards, answer to 
 any one of the first five questions which, the holder of a 
 card may cfiose to present. 
 
 Grade 29. Requirements: Classes A, B, C and D, 
 answer to sixth question. E, F, G and H, (omit) , same as 
 in Grade 26.1 and unclassified cards, same as in Grade 27 . 
 
 Grade 30. PRIZE AWARDED. Requirements: Classes 
 A, B, C and D, (omit), same as in Grade 29. E, F, G 
 and H. answer to sixth question. I and unclassified cards, 
 same as in Grade 27. 
 
 Grade 31. Requirements: Classes A, B, C and D. 
 Same as in Grade 29. E, F, G and H (omit), same as 
 in Grade 30. I and unclassified cards answer to sixth 
 question. 
 
 Grade 32. As the questions assigned to the different 
 cards vary in number, and as it is necessary to retain all 
 cards of a class until nearly all of the questions have been 
 presented, the players are at liberty to ask any question 
 upon a card ivhose list of questions has been exhausted. 
 It will, therefore, be understood that when the grade 
 requires answers to the seventh question of Class C, or any 
 other class, that it refers only to those cards which have 
 not yet been exhausted, while to secure any other card
 
 INSTRUCTIONS. 
 
 the applicant must answer any question in the list which 
 the holder may chose to present. 
 
 Requirements: Classes A, B, C and D, answer seventh 
 question. E, F, G and H, (omit), same as in Grade 30. 
 I and unclassified cards, same as in Grade 31, 
 
 Grade 33. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 32. E, F, G and H, answer 
 seventh question. I and unclassified cards, same as in 
 Grade 31. 
 
 Grade 34. It will be observed that the questions upon 
 several of the opera cards are already exhausted . Where 
 this is the case the holder of a card may ask any question 
 in its list and demand the correct answer before surren- 
 deringthe card. Requirements: Classes A, B,C and D, 
 same as in Grade 32. E, F, G and H, (omit), same as 
 in Grade 33 . I and unclassified cards, answer to seventh 
 question . 
 
 Grade 35. Requirements: Classes A, B, C and D, 
 ansiver to eighth question. E, F, G and H, (omit), same 
 as in Grade 33. I and unclassified cards, same as in 
 Grade 34. 
 
 Grade 36. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 35. E, F, G and H answer to 
 eighth question I and unclassified cards, same as in 
 Grade 34. 
 
 Grade 37. Requirements: Classes A, B, C and D, 
 same as in Grade 35. E, F, G and H, (omit), same as 
 in Grade 36. I and unclassified cards, answer to eighth 
 question. 
 
 Grade 38. Requirements: Classes A, B, C and D, 
 answer to ninth question. E, F, G and H, (omit), same 
 as in Grade 36. I and unclassified cards, same as in 
 Grade 37.
 
 7NS TR UC TIONS. 143 
 
 Grade 39. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 38. E, F, G and II answer to 
 ninth question. I and unclassified cards, same as in 
 Grade 37. 
 
 Grade 40. Requirements: Classes A, B, C and D, 
 same as in Grade 38. E, F, G and H, (omit), same as 
 in Grade 39. I and unclassified cards, answer to ninth 
 question. 
 
 Grade 41. Requirements: Classes A, B, C and D, 
 ansiver to tenth question. E, F, G and H, (omit), same 
 as in Grade 39. I and unclassified cards, same as in 
 Grade 40. 
 
 Grade 42. Requirements: Classes A, B, C and D, 
 (omit), same as in Grade 41. E, F, G and II ansiver to 
 tenth question. I and unclassified cards, same as in Grade 
 40. 
 
 Grade 43. Requirements: Classes A, B, C and D, 
 same as in Grade 41. E, F, G and H, (omit), same as 
 in Grade 42. I and unclassified cards, answer to tenth 
 question. 
 
 Grade 44. As the lists of questions upon many of 
 the cards are alread}- exhausted it will be much easier to 
 meet the requirements which follow than it has been to 
 meet those of the preceding grades. Requirements: 
 Classes A, B, C, D and E answer to eleventh question 
 when there is an eleventh question and when there is not 
 answer any question in the list corresponding to the card 
 asked for which the holder may choose to present. F, 
 G, H, I and unclassified cards ansiver to tenth question. 
 
 Grade 45. Requirements: Classes A, B, C, D and 
 E, same as in Grade 44. F, G, H, I and unclassified 
 cards, answer to eleventh question. 
 
 Grade 46. Requirements: Classes A, B, C, D and
 
 Ill 
 
 INSTRUCTIONS. 
 
 E, answer to twelfth question. F, G, II, I and unclassi- 
 fied cards, same as in Grade 15. 
 
 Grade 17. Requirements: Classes A, B, C, 1), and E, 
 same as in Grade 4(5. F, G, II, 1 and unclassified cards, 
 answer to twelfth question. 
 
 (irade -1H. Requirements: Classes A, B,C, U and E, 
 answer to thirteenth question. F, G, H, I and unclassified 
 cards, same as in Grade 47. 
 
 Grade 49 . Requirements: Classes A, B, C , D and E, 
 same as in Grade -18. F. G, II, I and unclassified cards, 
 <tii*tr<>r ('> tliirtcenth question. 
 
 Grade 50. Requirements: Classes A, B, C, I), E, F, 
 G, II, I and unclassified cards, answer to fourteenth 
 question, or if there he no fourteenth question, then an- 
 swer to any question relating to the card called. 
 
 Grade 51. Requirements: Include all classes. An- 
 swer to the fifteenth question when such occurs, and when 
 it doss not, to any question in the list corresponding to 
 the card asked for. 
 
 (irade 52. Omit all of the cards belonging to Classes 
 C and H. Requirements: Answer to sixteenth question 
 upon remaining cards. 
 
 Grade 53. Requirements: Answer to seventeenth 
 question upon remaining cards. 
 
 Grade 54. Omit Class A. Requirements: Answer 
 to eighteenth question upon remaining cards. 
 
 (irade 55. In the remaining grades it is desired to 
 exhaust the questions yet unanswered, and as the players 
 are priviliged to ask any question whatsoever, and de- 
 mand a correct answer before surrendering the card to 
 which it relates, it is not improbable that all will acquire 
 the additional information. Without it a player cannot 
 hope to secure the cards desired if an opponent is able to 
 fortify himself by asking one of the remaining questions.
 
 INSTRUCTIONS. 145 
 
 Requirements: Anst'-cr to miy question which the posses- 
 sor of a card may chouse to ask, regardless of irhether it 
 has already been used or not. 
 
 Grade 56. Requirements: Same as in Grade 55 . 
 
 Grade 57. Include cards of all classes in the remain- 
 ing grades. Requirements: Same as in Grade 55 . 
 
 Grade 58. Requirements: Same as in Grade 55 . 
 
 Grade 59. Requirements: Same as in Grade 55 . 
 
 Grade 60. Requirements: Same as in Grade 55 . 
 
 PIJIZKS AWAHDKD. As suggested in another place, 
 where classes are organized it will be found advantageous 
 to award prizes at intervals, as they are an incentive to 
 study and an appropriate recognition of merit. Should 
 the Manual of Music or Elson's Reminiscences of a 
 Musician's Vacation Abroad be desired the publishers will 
 furnish them, for this purpose only, at a special reduction.
 
 146 
 
 SUMMARY OF REQUIREMENTS. 
 
 SfM.MAKY OF KK(>riKKMKNTS. 
 
 PROGRESS! YK GliAMKS oil EXERCISES. 
 
 COTJZRSIE. 
 
 r Classes A, B, C and D. 
 I Cards must be surrendered 
 
 1 finrdleis of cornet i>r<>n>in<-i<i'.ion. 
 [ tions, page 133) . 
 
 No requirements. 
 when called ><',- 
 (See Instruc- 
 
 t 
 
 r 
 
 URADE. 
 
 Classes A, B, C and D Titles and names neces" 
 sarily used to indicate cards desired m-uxt l> 
 eorrteHg pronounced. (See Instructions, pages 
 133 and 134.) 
 
 Classes A and B. Give date upper Uft hand 
 corner of card . 
 
 Classes C and D. Give title of work and nini 
 of composer but correct pronunciation if the latter is 
 not yet required. (See Instructions, page 134.) 
 
 ( Classes A and B. Give both dates upper k-ft 
 
 and right corner of card. 
 i. Classes C and D. Give title of work and name 
 
 of composer and pronounce both correctly. (See 
 [ Instructions, page 134). 
 
 C Classes A and B. Answer correctly question 
 
 No 1 assigned to the card required. 
 5th GKADF J Classes C and D. State irln'n and where, the 
 
 | work represented upon the card demanded was-; 
 produced : as tor example: Peri's Eurydici>,\or- 
 
 [ence, 1000. (See Instructions, page 135.) 
 
 4tli
 
 SUMMARY OF REQUIREMENTS. 
 
 147 
 
 6th GRADE. - 
 
 Classes A and B. Bevieto 5th Grade; answer 
 correetlj' ques. No 1 assigned to the card 
 required. 
 
 Classes C and D. Give iliti- of faYM (upper 
 left corner) of compose]- represented upon card 
 demanded, Correct pronunciation of Mft ///////e 
 and titlf now and Iiereuftcr <tbr-i\:\ m/</m-'/ in t/n.-.i- 
 Card may le retained even if date <>i' 
 birth be correctly g-iven, if pronunciation is 
 incorrect. (See Instructions page 135.) 
 
 Classes A and B. /,'<//,,/ 4th Grade. Give 
 butli diti'H ujpi-r left and right liand corners of 
 cards. 
 
 Classes C and D. Give in>!1, dates birth and 
 i if composer, as for example. Peri l.">f>0- 
 . (^See Instructions page 136.) 
 
 Classes A and B. Jieriew 5th Gradf ; answer 
 correctly '/"..->. X<>. 1 assigned to the card re- 
 quired. 
 
 Classes C and D. Answer correctly q>ifs. 
 \'i. 7 assigned to the card required. (_!3ee In- 
 structions page 136.) 
 
 NOTE: Add to cards already in use, all of CLASS K SYMPHONY 
 and the "unclassified general cards' 1 Fantasia &nd >'<///// Without 
 Wordt. 
 
 ( Classes A. B, C and D. ,. ''';v/fZe; an- 
 
 swer coi'l-ectly qin.-s. Xo. 1 ;!>s;gii-'d to the 
 card required. 
 
 Class Iv Give r*irr<H ]-iiin'i<it!i, -(' nnim* 
 of composers and tlntrx of hit tit and </.>/////. (See 
 Instructions, page 13(5). 
 
 NOTE: Add to cards already in use all of CLASS F, CONCERTO, 
 and the ''unclassified general cards" l-'m/n, and (Jnnlitiix <>f 
 
 Sth GRADE. 
 
 9th GRADE 
 
 Classes A. I>. C ami I). 7iV/v'< /r Srh (truth-. 
 Answer correctly ques. No. 1 assigned to the 
 card required . 
 
 Class K. Answer correctly ques. No. 1 
 assigned to the card required. 
 
 Class F. Give correct pronunciation of 
 if & .i:,po:ers and dates of birth ami ih'ntli. ( 
 AWARDED Head carefully Instructions, 
 
 10th GRADE. 
 
 NOTE: Add to cards already in use all of CLASS G. SONATA, 
 and the "unclassified general cards" ^'m-tiirnf and 
 Musical Forms. 
 
 11
 
 148 
 
 SUMMARY OF REQUIREMENTS. 
 
 f Classes A, B, C. D and E. Itevww. Answer 
 correctly ques. No. 1 assigned to the card 
 required. [Note: If preferred the requirements 
 j in those classes in this grade may consist of a 
 ! review of the dates instead of the tirst question.] 
 Class F. Answer correctly ques. No. 1 as- 
 signed to the card required. 
 
 Class G. Give correct pronunciution of names of 
 composers and (bites of birth and death. (See 
 Instructions, page 137). 
 
 llth GRADE. 
 
 NOTE- Add to cards already in use all of CLASS H, CHAMBER 
 Music, and the "imcla.ssitied general cards" Literary Interpreta- 
 tion in M'Hx'n-nl .-fat/H-firx and The Ilistoiy of Music-; Reasons Why it 
 
 ' Sf ml/I'll. 
 
 f Classes A, B, C, D, E and F lleciew. An- 
 swer ques. No. 1 assigned to the card re- 
 quired. [Note: If preferred the requirements 
 in these classes in this grade may consist of a 
 ri'i'it'ir <>f il'iti, v ///. Glauses A and 7? and of time and 
 l>b K-C. of /, rod net ion, of works wlwn given upon the 
 cfirds in Classes C, D, E and F ] 
 12th GRADE. { Class G. Answer correctly question No. 1 
 assigned to the card required. 
 
 Class II. Give correct pronunciation of names 
 of composers, dates of birth and death and time 
 and place of works when given on the cards. 
 [Note: This requirement may be abridged at 
 the discretion of the teacher or participants if 
 ^ too difficult. See Instructions, page 1H7.] 
 
 NOTE: Add to cards already in use all of CLASS I, SONG. 
 
 Classes A, B, C, D, E, F and G. Give cor- 
 rect pronunciation of names and dates of birth 
 and death of composers. 
 
 IHth GRADE. -< Class H. Answer correctly ques. No. 1 
 assigned to the card required. 
 
 Class I. Give correcf prt>n>iuri<iti<>n, of names of 
 composers and dates of birth and death. 
 
 Classes A and B. Answer correctly ques. 
 No. 2 assigned to the card required. 
 
 14th GRADE Classes C, I), E, F. G and II. Give names 
 
 and dates of composers. 
 
 Class I. Answer 'correctly ques. No. 1 as- 
 signed tu the card required. 
 
 NOTE: In this and all subsequent grades the "unclassified 
 general ca;-<ls" may be called at will from one to the other. 
 (See Instructions, page
 
 SUMMARY OF REQUIREMENTS. 
 
 149 
 
 Classes A and B. Answer ques. No. 2. 
 
 Classes C and D. Answer ques. No. '2. 
 
 Classes E, F. G, Hand I. Give names and 
 dates of composers. 
 
 Unclassified cards, give correct answer to 
 ([lies. No. 1 assigned to the card required. 
 
 15th GRADK. 
 
 Kith GRADE. 
 
 17th GRADE. -' 
 
 ISth GRADE. 
 
 I'.lth GUADK. 
 
 20th 
 
 '-21st GRADE. 
 
 22nd GRADE. 
 
 23rd GRADE. 
 
 24th GRADE. 
 
 Jfith GRADE. 
 
 Classes A, B, C and D. Omit, 
 Classes E, F, G and H. Answer toques No.l. 
 Class I and unc'assified cards. Answer ques. 
 No. 1. (See Instructions, page 138) 
 
 Classes A, B, C and D. Omit, 
 
 Classes 1C. F. G. H :.nd I. Answer ques. No. 2. 
 
 Unclassified cards. Answer ques. No. 1. 
 
 Classes A, B, C and D. Omit. 
 
 Classes E, F, G and H. Answer ques. No. 2. 
 
 Class I and unclassified cards. Answer to 
 ques. No. 2. 
 
 Classes A, B, C and D. Answer ques. No. 3. 
 
 Classes E, F. G and H. Omit. 
 
 Class I and unclassified cards. Answer to 
 ques. No. 2. 
 
 Classes A, B, C and D. Omit. 
 
 ( ''asses K. F. G, and H. Answer ques. No. 3. 
 
 Class I and unclassified cards. Answer ques. 
 X" ~1 (Read carefully Instructions, pages 
 L39 and !40). 
 
 Classes A, B. C and D. Answer ques. No. 4. 
 Classes E, F, G and H. Omit. 
 Class I and unclassified cards. Answer to 
 ques. No. 4. 
 
 Classes A, B, C and D. Answer ques. No. 4. 
 
 Classes E, F, G and H. Omit. 
 ( 'lass 1 and unclassified cards. Answer ques. 
 No. 3. 
 
 Classes A, B, C and D. Omit. 
 Classes K. F. G and H. Answer ques. No. 4. 
 Class I and unclassified cards. Answer to 
 ques. No. 3. 
 
 Classes A, B, C and D. Answer ques. No. 4. 
 
 Classes E, F. G and H. Omit. 
 
 Class I and unclassified cards. Answer to 
 ques. No. 4. 
 
 Classes A, B, C and D. Answer ques. No. 5. 
 
 Classes E, F, (J and H. Omit. 
 
 Class 1 and unclassified cards. Answer to 
 ques. No. 4.
 
 150 
 
 SUMMARY OF ItEQUTREMENTS. 
 
 ( 'lasses A, 13, C and D. Omit. 
 , (lasses K, F,Gand H. Answer ques. No. 5. 
 DE- j Class I and unclassified cards. Answer to 
 
 I ([lies. No. 4. 
 
 Classes A. 13, C and D. Answer ques. No. 5. 
 Classes E, F, G and H. Omit. 
 Class I and unclassified cards. Answer tr 
 ques. No. 5. 
 
 27th GRADE. 
 
 2Stll (JHAI.K. 
 
 29th GRADE. 
 
 30th GRADK. 
 
 81st GRADE. 
 
 32nd GRADE. 
 
 33rd GRADE. 
 
 34th GRADE. 
 
 35th GRADE. 
 
 Classes A, B, CandD. Answer question No 
 1, 2, 3, 4 or 5 as required. 
 
 Class E, F, G and H. Answer question No 
 1, 2, 3, 4 or 5 as required. 
 
 Class I and unclassified cards. Answer to 
 ques. No. 1, 2, 3, 4 or 5 as required. (See 
 Instructions, Grade 28, page 141.) 
 
 Answer ques. No. 6. 
 
 Omit. 
 
 ranis. Answer to 
 
 ( 'lasses A, B, C and D. 
 Classes E, F, G and H. 
 Class I and unclassified 
 ques. No. 5. 
 
 ('lasses A, H, Cand 1). PRIZB AWARDED. Omit. 
 ( Classes E, F, G and H. Answer ques. No. 6. 
 Class I and unclassified cards. Answer to 
 ques. No. 5. 
 
 ( 'lasses A, B, Cand D. Answer ques. No. 6. 
 Classes K, F, G and H. Omit. 
 Class I and unclassified cards. Answer to 
 ques. No. 6. 
 
 Classas A, B, C and D. Answer ques. No. 7. 
 
 Classes E, F, G and H. Omit, 
 
 Class I and unclassified cards. Answer to 
 ques. No. 6. (See Instructions, Grade 32, 
 page 142.) 
 
 Classes A, B, C and D. Omit. 
 Classes E. F, G and H. Answer ques. No. 7. 
 Class I and unclassified cards. Answer to 
 ques. No. 6. 
 
 Classes A, B, C and D. Answer ques. No. 7. 
 
 Classes E, F, G and H. Omit. 
 
 Class I and unclassified cards. Answer to 
 ques. No. 7. (See Instructions, Grade 34, 
 page 142.) 
 
 Classes A, B, C and D. Answer ques. No. 8. 
 Classes E, F, G and H. Omit. 
 Class I and unclassified cards. Answer to 
 ques. No. 7.
 
 SUM MA R T OF REQ UIR E ME NTS. \ 5 1 
 
 ( Classes A. I). (' and J>. Omit. 
 r> D . Classes K, F. G and H. Answer ques. No s. 
 
 GRADE. < 
 
 j Class I and unclassified cards. Answer 1 
 (_ ques. No. 7. 
 
 C Classes A. I!. C and 1). Answer ques,. No. s. 
 37th CI-ADE 4 Classes K, F, C and II. Omit. 
 
 j ("Mass 1 and unclassified cards. Answer to 
 [ ques. No. 8. 
 
 f Classes A, B. C, and 1) Answer ques. No. it. 
 38th GR\DE Classes E. F. <i and II. Omit. 
 
 | Class I and unclassified cards. Answer to 
 I ques. No. N. 
 
 f Cla.-ses A, li, (.' and I). Omit. 
 
 ,,Q,J /->.. ,. I ''lasses K. F, C and 11. Answer ques. No. '>. 
 "] Class 1 and unclassified eurds. Answer to 
 [ ques. No. 8. 
 
 Classes A, I>. ( ' and I). Answer ques. No. !t. 
 
 40th GKADK J Classes E, P, G and H. Omit. 
 
 ] Class I and unclassified cards. Answer to 
 I ques. No. !). 
 
 f Classes A. U. C and 1). Answer ques. No. 10. 
 41st <TR\DE < 'lasses K. F. (I and 11. Omit. 
 
 1 Class 1 and unclassified cards. Answer to 
 
 ( ques. No. it. 
 
 f Classes A. I>.C and 1) Omit. 
 
 ,., ,1 f R4nF I Classes F. F. (i and II. Answer ques. No. 10. 
 j Class I and unclassified cards. Answer to 
 [ ques. No. '.I. 
 
 f Classes A. 15, C and I>. Answer ques. No. 10. 
 
 . , r, Classes K. F. (J and II. Omit. 
 
 43rd (TRADE. -!. , ... , 
 
 j Class 1 and unc.lassilied cards. Answer to 
 
 l_ <}ues. No. 10. 
 
 f Classes A. 15, C. Dand li. Answerques.No.il. 
 .,., f . Classes F. C, II. I and unclassified cards. 
 
 UE - "', Answer ques No. 10. (See Instructions, 
 [ Grade 44. page 143.) 
 
 (Classes A. 15, C. 1) and K. Answer (lues. 
 F. G, H, I and unclassified cards. Answer 
 ques. No. 11. 
 
 ( Classes A, li, C, 1) and E. Answer ques. 
 ..... ^ ! No. 12. 
 
 DE " ] F, G, H, 1 and unclassified cards. Answer 
 [ ques. No. 11.
 
 152 SUMMARY OF REQUIREMENTS. 
 
 (Classes A, B, C, D and E. Answer ques. 
 No. 12. 
 F, G, H, I and unclassified cards. Answer 
 ques. No. 12. 
 
 f Classes A, B, C, D and E. Answer ques. 
 ! No. 13. 
 rRADK. < F G< H j and unc i a8S i ne( j car ds. Answer 
 
 [ ques. No. 12. 
 
 f Classes A, B, C, D and E. Answer ques. 
 ! No. 13. 
 
 " 1 F, G, H. I and unclassified cards. Answer 
 ( ques. No. 13. 
 
 ( Include all of the cards. Answer ques. No. 
 UE ' \ 14. (See Instructions, page 144.) 
 
 ( Include all of the cards. Answer ques. No. 
 \ 15. (See Instructions, page 144 J 
 
 f Omit classes CandH. Answer ques, No. 16 
 52nd GRADE, j (m remaining cards . 
 
 r3rd GRADED Answer ques. No. 17 upon remaining cards. 
 
 n J Omit Class A. Answer question No. 18 upon 
 
 B> \ remaining cards. 
 
 PI J Answer to any ques. asked relating to card 
 K i called tor. (See Instructions, p. 144.) 
 
 GRADES 56 r ft ( 
 58 59 fc'fK)' ] R e P ea -t the requirements of 55th Grade.
 
 \OA\\r.lL COC/tSE. 153 
 
 NORMAL COURSE. 
 
 COMPLETING THK STl'DIKS IN TWI I VI. I.KSSoNS. 
 
 In order to meet the wishes of advanced students de- 
 siring to master the outlines of musical history in the 
 smallest practicaole number of lessons, the following 
 system of progressive grades has been devised, based 
 upon a special series of questions, four to each card, so 
 planned as to elicit their entire contents. As there are 
 96 cards in the pack, even this small number of ques- 
 tions will afford no less than 384 questions, besides the 
 names and dates at the top of the cards. It will there- 
 fore be impossible to master the information within the 
 limits here proposed unless considerable preparatory 
 study is given each exercise. The average of questions 
 will be about thirty- three at each exercise, and it is not 
 far from accurate to say that the matter necessary to 
 master, in order to answer them fairly, will be equal to 
 about eight or ten pages of a high-school text- book. 
 This amount of matter is not a long lesson for any high- 
 school pupil, and the conditions of emulation and the 
 vicissitudes of the game will render the exercise interest-
 
 154 NORMAL COURSE. 
 
 ing in spite of the amount of work it contains. In order 
 to conduct the Normal Course successfully, the follow- 
 ing directions in regard to the cards used and the re- 
 quirements of each grade must be scrupulously observed. 
 (Jr.-ide 1. Begin with a partial pack, embracing all of 
 Classes A, B, C, 1), and the unclassified general cards, 
 Mass," -Requiem," "Te Deum," "Principles of the 
 beautiful," "The Classical in Music," "The Romantic 
 in Music," "Rules of Pronunciation," and "Literar}' 
 Interpretation in Musical ^Ethetics." 
 
 The eight unclassified general cards are not called 
 from one player to another until Grade 9. They re- 
 main with the player obtaining them from the pack until 
 combined in books, according to the rules in Sec. II. 
 
 Deal one card to each player in turn, until each has 
 four. Place the remainder of the pack used face down- 
 wards, at a convenient place upon the table. The player 
 upon the left of the dealer has the first right to call from 
 any other player he may select, whatever card he may 
 l.-sire for completing or advancing a "book," the same 
 as directed in Sec . IV . 
 
 Requirements in Grade 1. No card need be sur- 
 rendered by the player from whom it has been called un- 
 less the caller give, beside the title of the card, the name 
 of the composer and the dates of birth and death. 
 Cards of Classes A and B, not being devoted to specific 
 works, must be claimed by giving the dates of the per- 
 sons and period as found upon the upper corners of the 
 "irds, or in the body of the text. These dates and the 
 "Mines of the composers may be given by the caller at 
 first, or he may only give the title of the card, where- 
 upon the holder may demand the remaining informa- 
 tion here required before surrendering it. If the card
 
 NORMAL COURSE. IT, 5 
 
 is not held by the player from whom it has been called, 
 llie player draws the top card from the pack, as in Sec. 
 IV. If the card, however, is not surrendered for want 
 of the explicit information here designated, the caller 
 forfeits his privilege of drawing from the pack. Then 
 the player next upon his left has the privilege of calling, 
 upon the same conditions. 
 
 Grade 2. The pack remains as before, Classes A, B, 
 C, D, and the eight unclassified general cards mentioned 
 in Grade 1. Requirements: Cards are called by their 
 titles, and if devoted to particular works, the name of 
 the composer must be added. If the player from whom 
 the demand is made holds the card called, he will not 
 surrender it until the lirst question concerning this card 
 in the Normal Course has been fairly answered. In case 
 of dispute as to the sufficiency of answers, the decision 
 is made as explained in Sec. V. 
 
 Grade .'>. The pack remains as before. Require- 
 ments: Cards are called as in the previous grade, but 
 the holder will not surrender them until the 2nd ques- 
 t ion of the Normal Course has been answered sufficiently. 
 
 Grade 4. The pack remains as before. Require- 
 ments: The. caller must answer the 3d question of the 
 Normal Course before the card will be surrendered. 
 
 Grade 5. Add to the pack in use in the earlier grades 
 all the cards of Classes E, F and G, and the following 
 unclassified general cards: "Fugue," '"Fantasic," 
 Nocturne," "Song Without Words," '"Madrigal" and 
 "Musical History." Requirements: Classes E. F and 
 (i will not be surrendered unless the names and dates of 
 composers are given. Classes A and 15 require the 4th 
 question of the Normal Course to be answered. Classes 
 C and I) still remain at the 3d question. (Note. At
 
 \<)/{.MAL COUNSE. 
 
 the discretion of the teacher, one of the earlier questions 
 may be substituted in these classes in this grade, for the 
 sake of review.) 
 
 Grade (>. The pack ivmains as in Grade 5. Re- 
 quiremenls: Classes E, F G, 1st questions of Normal 
 Course. Class C, 4th question. Class A and B any 
 question of the Normal Course which the teacher or the 
 class may agree upon at commencing the game. (This 
 will have the force of a review in these classes.) 
 
 (Irnde 7. Pack remains as in Grade 5. Require- 
 ments: Classes E, F and G, 2nd question of the Nor- 
 mal Course. Class D, 4th question of Normal Course. 
 Classes A, B and C, any question which the class may 
 have agreed upon at the beginning of the exercise. 
 
 Grade 8. Add the cards of Classes II and I, and the 
 remaining unclassified cards. Requirements: 
 
 Classes II and I, names and dates of composers. Classes 
 E, F, G, 3d question of Normal Course. Classes A, B, 
 C. 1), names and dates of composers, or dates of periods 
 in Class B. 
 
 Grade 9. In this grade the general unclassified cards, 
 for the first time, are called from one player to another, 
 exactly like all others. For this reason they acquire a 
 special value in this and the following grades of the 
 course. See Sec. Ill, 14. Requirements: Unclassi- 
 fied general cards, the 1st question of the Normal Course. 
 Classes E, F, G, 4th question of Normal Course. 
 Classes H and I, 1st question of Normal Course. Classes 
 A, B, C, I), 1st question. 
 
 Grade 10. Full pack. General cards, unclassified, sub- 
 ject to call. Requirements: Unclassified general cards 
 and Classes II and I,2d question of Normal Course. Classes 
 A, B, C, D, E, F and G, 2d question of Normal Course,
 
 NORMAL COURSE. 
 
 Grade 11. Pack the same as in preceding grade. 
 Requirements, 3rd question of Normal course in all 
 classes. 
 
 Grade 12. Full pack. Call general cards. Require- 
 ments: 4th question of all classes. Normal Course. 
 
 It will be seen that in this course the entire informa- 
 tion upon the first seven classes is gone through and 
 reviewed, as also are the names and dates of composers. 
 Should the teacher care to cany on the course a little 
 longer, the unclassified general cards may be restored to 
 the position which they occupied in the first seven grades, 
 remaining with the player acquiring them from the pack. 
 All other cards may be surrendered upon correctly 
 answering whatever question of the course may have 
 been selected at the beginning of the exercise, or two 
 questions may be required. After two exercises of 
 this kind the unclassified general cards may be restored 
 to the rank they have in grades 9 to 12, and all four of 
 the Normal Course questions required as condition to 
 surrendering them. In these later exercises the know- 
 ledge of the players will by no means remain stationary, 
 but on the contrary will now become more thorough in 
 respect to the valuations, and the relations of different 
 works of the same class to each other. This will be an 
 incidental result of the effort of the players to effect more 
 and more valuable combinations. The honorable com- 
 pletion and review of the Normal Course should be 
 recognized by suitable tokens to the one or two players 
 having icquired the highest number of credits.
 
 158 SUM M AN)' OF /{E.$U/REAfENTS. 
 
 SUMMARY OF REQUIREMENTS. 
 
 PROGRESSIVE GRADES OR EXERCISES. 
 
 COTJIRSIE. 
 
 NOTE: As it is manifestly impossible to plan a course which 
 will i"' equally well adapted to pupils of various decrees of 
 aptitude and proficiency, the author relies upon the teacher to 
 make any changes '" the apportionment of requirements which 
 
 may he deemed necessary to render the course thoroughly 
 
 practical and efficient. It may lie found expedient to extend 
 
 the Normal Course through a greater number of Exercises, but 
 <>f this the teacher or class must be the judge. 
 
 f Classes A and U. Give dates upper right and 
 | left hand corner of cards. 
 
 1st GRADE. <! Classes and D. Give title of work, name of 
 composer, and dates of birth and death. (See 
 [ Instructions, page 153 and 154 ) 
 
 ( Classes A and B. Answer question No. 1 
 I relating to the card required. 
 
 ,'ud GitAOB. -I Classes C and 1). Give title of work and name 
 
 of composer, pronouncing both correctly. Also 
 
 ( answerques. No, 1 relating to the card required . 
 
 3rd GRADE / Classes A and B. Answer ques. No. 2. 
 \ Classes C and T). Answer ques. No. 2. 
 
 4th Grade. / Classes A and B. Answer ques. No. 3. 
 \ Classes C and D. Answer ques. No. 3. 
 
 NOTE: Add all cards of Classes E, F and G, and six unclas- 
 sified general cards. (See Instructions, page 155.)
 
 OF REQUIREMENTS. 
 
 159 
 
 r 
 
 5th GRADE. 
 
 
 7th GRADE. 
 
 Classes A and B. Answer ques. No. 4. 
 Classes A and D. Answer (pies. No. 3. 
 | Classes E. F and G. Give dates of birth and 
 [ death. 
 
 Classes A and B. Answer toques. No. 1, 2, 
 3 or 4, as teacher or class may decide 
 6th GRADE. { Class C. Answer to ques. No. 4. 
 Class D. Answer ques. No. 3. 
 Classes E, F and G. Answer ques. No. 1. 
 Classes A, B and C. Answer to ques. No. 1, 
 2, 3 or 4 as teacher or class may decide. 
 
 Class D. Answer (pies. No. 4. 
 [ Class E. F and G. Answer ques. No. 2. 
 NOTE. Add all of remaining' cards. 
 
 Classes A. B, C and D. Give dates upper 
 right, and left hand corners of cards. 
 8th GRADE. 4 Classes E, F and G. Answer ques. No. 3. 
 
 Classes II and I. Give dates of birth and 
 death. 
 
 Classes A, B, C and D. Answer question No 1. 
 Classes E, F and G. Answer ques. No. 4. 
 Classes H and I. Answer ques. No. 1. 
 Unclassified cards. Answer (pies. No. 1. 
 Answer ques No. 2 upon all the c>."ds. 
 Answer ijues. No. 3 upon all the cards, 
 Answer ques. No. 4 upon all the cards, 
 
 9th GRADE, i 
 
 10th GRA: 
 llth GRADE. { 
 12th GRDK. -{
 
 160 RULES AND SUGGESTIONS. 
 
 SUPPLEMENTARY RULES AND SUGGESTIONS. 
 
 1. When a player having, (originally), only general 
 cards in his hand, has no list of titles to guide him in 
 calling, he may use his privilege of drawing from the 
 pack before asking for cards. 
 
 2. It frequently becomes possible to form a book 
 when by doing so the player will suffer a disadvantage, 
 by using all the cards in his hand which have the list of 
 titles upon them. In such instances, as he voluntarily 
 incurs this disadvantage for the purpose of acquiring a 
 book, he must abide by the consequences and lose his 
 call. 
 
 3 . When a book is formed, the class, names of com- 
 posers, and if demanded the titles of works upon the 
 cards used, must be distinctly announced. As the "un- 
 classified general cards" are not subject to call until after 
 the 15tli grade in the Regular Course, and the 9th grade 
 in the Normal Course, it is unnecessary to announce 
 them before those grades. In announcing cards it will 
 be found most satisfactory to all the players to have the 
 clnss, and names of composers given instead of titles, 
 as they are more easily remembered, thus: "Class E, 
 Symphony, Beethoven, Schubert, Liszt and an unclassi- 
 fied card . ' ' 
 
 4. A player may be privileged to look at his own 
 "books" at any time, should he forget what he has dis-
 
 RULES AND SUGGESTrONS. 161 
 
 carded , bat has no right to demand such information 
 from his opponents. 
 
 5. When a player wishes to form a book, he must so 
 announce before the player next following has called. 
 After he has drawn from the pack, and his opponent has 
 called, he has forfeited his right to form a book until 
 after his next call. 
 
 6. When a player announces his intention of forming 
 a book, he must announce the class at once, and if the 
 player next following does not wish to call any cards 
 from that class, he may proceed to call others, thus 
 avoiding delay. But having once announced the inten- 
 tion of forming a book in a certain class, the player so 
 announcing must form the book, as such an announce- 
 ment unfulfilled is misleading. Failing to form a book 
 after having so announced, a player forfeits his next 
 call, and can only draw from the pack at his turn. 
 
 7 . No cards are to be called after the last card has 
 been drawn from the 'table. Players must then form all 
 books possible from the cards in their possession. After 
 all books possible have bwi) firmed, each player must 
 place all cards still remaining m his possession, text up- 
 wards, on the table within plain view of all the players. 
 The player who is found to still have the largest number 
 of cards of any class shall be entitled to all the cards of 
 that class held by all other players. Should two or more 
 players have an equal number of cards, then the right of 
 possession depends upon the total valuations of the first 
 quality in the qualitative analysis nearest to the top of 
 cards. For example should A have the two cards of 
 Class C Tristan and Isolde and The Huyenots and B the 
 two cards Fidelia and Teodora, A would be entitled to 
 the cards because the valuation of "Musical Fitness"
 
 162 RULES AND SUGGESTIONS. 
 
 which is the first quality in the table of opera is ten in 
 one and eight in the other of the two first cards mentioned 
 aggregating eighteen while in the two latter cards it is 
 marked respectively seven and three, in total ten. The 
 players holding an equal number of cards at this point 
 will ihus add together the valuations of the first quality 
 and the one who has the highest tola! number shall be en- 
 titled to all the cards of that class. In case any two or 
 more players find upon addition that their numbers are 
 equal the valuations of the second quality in the table are 
 to be used to determine the right of possession in exactly 
 the same manner. The "unclassified general cards" are 
 not to be exchanged but remain permanently in the pos- 
 session of the players holding them when the last card 
 is drawn from the table. After each player has obtained 
 all Uie cards to which he is entitled through this process, 
 additional books may be formed and the exercise finally 
 closed. This method may be adopted or not at the op- 
 tion of the participants but the point must be decided at 
 the beginning of the exercise.
 
 DICTIONARY. 171 
 
 I'U<>NorX('lN<; DICTIONARY 
 
 NAMES, TKRMS AND PHUASKS TSKD IN THE STUDIES. 
 
 Completeness lias been no part of the design of this 
 dictionary, it being essentially supplementary to the 
 present Studies. Its object is to furnish pronunciations, 
 definitions, explanations, etc., of words contained in the 
 text of the cards, which might not be readily understood 
 and correctly pronounced by the younger pupils. 
 
 If the simplicity and common usage of certain words 
 would seem to preclude the necessity of pronouncing and 
 defining them here, the reader will generously attribute 
 this fact to the earnest desire of the author to adapt the 
 Studies to the xise of very young pupils, (and some who 
 are well advanced in years are very young in music), to 
 render every word, phrase and sentence thoroughly in- 
 telligible to all. 
 
 a as in alt, it add. a (inn. ere. c- end, I ice, t ill, o old, 6 odd. oo 
 moon, ii bite, u 1it. ii French *<>niul, like e in >/< ir. 
 
 Adagio, (ii-da'-je-o). A very slow degree of movement. Its 
 original meaning was a rate of speed convenient to Ihe player, 
 hence, gradually its present meaning. 
 
 Agnus Dei, (ag'-niis da'-G). Lamb of God. One of the musical 
 anthems in the mass. 
 
 A la Champetre, (a la-chiim-patr'). Out of doors. 
 
 Allegro, (al-la'-gro). Rapid movement; cheerful. 
 
 12
 
 Allegro Moderato. (al-hV-gro mod c- iii' '..>). Moderately quick. 
 
 Allegro Scher/ando. (al-l:V-gro sker-tsan'.do). Quick and 
 playful; lively; merry. 
 
 Aim* Redemptori, (al'-mii re-dCm-to'-re). A hymn to the vir- 
 gin. 
 
 Amateur. (:im'-a-tur). One who has taste for music, but does 
 not practice it as a profession; a dilettante. 
 
 Aiiibriisiaii Scales. The four motif* or scales adapted by St. 
 Ambrose. Hishop of Milan, from the ancient (ireek system. 
 M. Gregory the Great and his Reforms, Class A. Anti- 
 quities of Music. 
 
 Andante, (iin-dan'-tg). Rather slow. Frequently combined 
 with qualifying 1 words. 
 
 Andantino. (an-dan-te'-no). Slower than andante. 
 
 Antiphonary. (.in-tif-fo-na-ry). Book of anthems, responses, 
 etc.. in the Catholic, church. 
 
 Antiphonarium. (an'-ti-fo-na'-ri-um). The collection of Anti- 
 phons used in the Catholic church; they are sung 1 respon- 
 sively by the priest and congregation or by two c.hoirs. 
 
 Arez/n, (;i-rr-t'-Sd). A Tuscan city on the Chiana. 
 
 Aria, (a'-rc-ii). An air; a song, sung by a single voice with or 
 without an accompaniment. (See Class I, Definition of Quali- 
 ties and Characterization of Song, and Class C, Characteri- 
 zation of Opera). 
 
 Arpeggio, (ar-pad'-je-o). A broken chord, the notes being 
 played successively instead of simultaneously. Arpeggios 
 begin with lowest tone, the left hand tirst then the right, 
 upon completion of the left- 
 Aryan, (ru-'-i-an). An inhabitant of ancient Persia. 
 
 Aristotle, (;lr'-is-tot-l) ; b. Stagira in Macedonia, 384 B. C; d. 
 322 B. C. An eminent (ireek philosopher. The first observer 
 of musical phenomena by ear. (See Class A, Ancient Greek 
 Music.) 
 
 Aristoxenos. (Sr-is-tok'-s.i-no). A pupil of Aristotle, and a cel- 
 ebrated musical theorist. His doctrine of harmony is directly 
 opposed to that of the Pythagoreans, according to whom 
 musical concord depended upon certain mathematical ratios. 
 Aristoxenes sought to develop the theory that the ear is the 
 true judge of concord, and that its impressions may be gen- 
 eralized into rules. (See Class A, Ancient (ireek Music.)
 
 DICTIONARY. 17.; 
 
 Asperges, (Ss-pgr'zez). An antiphon sung 1 before the solemn 
 mass on Sundays during which the priest sprinkles with 
 holy water the altar and people. 
 
 . (as-sa'-e). Very; as Allegro Assai, very quick. 
 
 Augmentation. A technical term signifying that a phrase is t 
 be repeated with notes of double length. 
 
 Aulos, (ow'-los). The Greek flute; a sort of rude 
 
 Ave Regina, (a-vh ra--je-nah). "Hail Queen ;" a hymn to til-- 
 Virgin. 
 
 Barbiere di Siviglia, (bar-be-a-re de se-bel-ya). "The Barbel 
 of Seville," a comic opera by Rossini, ]^]>'<. 
 
 Bard. (bard). A poet and singer; one wh .tion was 
 
 to (Viiiipuse and sing . -rally t" the accompaniment 
 
 of some stringed instrument. 
 
 Bardi, Giovanni, (je-o-van'-ncbar'-de). A Florentine patrician 
 at whose palace Peri. Caccini. Renuccini and others met to 
 study the Greek drama which resulted in the origin of the 
 ojK-ra. See < 
 
 Ballet, (bal'la). A >JH i-tacular dance in which a number of 
 performers take part. 
 
 Pienedif'tion des Poignards. (b5n-c dik-phrm duh pwoin-y;inl). 
 "Ulessing of the Swards." N;une of a very -tt'-- 
 ed piece in Meyerl,. .-i-'s !..?; Hu.nie! 
 
 Benedirtus. (l)cn-c-dik'-tus). V)ne of the principal movements 
 of a mass. 
 
 Beni Hassan, (bcn'-i has'-san). One of the oldest burying 
 places of the Egyptians. 
 
 Biban el Moulouk. (be-baii'-el-moo-look'). The ancient Imrial 
 place of the kings in Egypt. Here were found illustrations 
 of musical instrun.' 
 
 Biber, II. J. F. von. (bc'-bar) ; b. Warthenberg in Bohemia, 
 lf.:^: d. 1608. One of the finest violinists of his time His 
 compositions were fanciful and beautiful. He was chapel 
 master to Bishop of Salzburg. 
 
 Birde. English composers of the 17th century. 
 
 Bizet. G.. (lie'-zfi;: b. Paris. ls:}S; .1. 1^7".. One of the most 
 distinguished of modern French composers. His m..st cele- 
 brated opera is "Carmen." which lias long held ft prominent 
 place upon the opera* both Europe av:l \merica. 
 
 and sfill maintains its popularity.
 
 174 
 
 DICTIONARY. 
 
 Boyce, Wm.; b. London, 1710; d. 1779. A composer of eccle- 
 siastical, dramatic and miscellaneous music of originality and 
 of strong, clear style. In 174!) made Doctor of Music by 
 Cambridge University. Published collection of standard 
 works, by which England's choral service was much en- 
 riched. 
 
 Cadenza, (kii-dent'-sa). A bravoura passage, commonly in- 
 troduced toward the close of a piece. The most elaborate 
 ,id difficult cadenzas are to be found in concertos. 
 
 Canipenalla, (kiim-pa-nel'-la). A little bell. 
 
 Canon, (kitn'-on). A composition in which a second voice re- 
 peats the first exactly, beginning later. This imitation may 
 be in the unison, octave or any other interval. The second 
 may also repeat the first backward, or inverse order of in- 
 tervals, etc., in great variety. 
 
 Cantabile, (kan-ta'-be-le). In singing style. Cantando has 
 the same meaning. Both are derived from the verb cantare, 
 to sing. 
 
 Caccini, G. (kat-tshe'-ne) ; b. Rome, 1558; d. 1615. Noted 
 scholar and dramatic composer; with J. Peri composed opera 
 Eurydice. See Class C, Eurydicr. , 
 
 Cantata, (kan-ta'-ta). A composition generally elaborate for 
 solos and chorus with or without orchestra. It is usually 
 founded upon a connected story but without action. It is 
 the secular counterpart of the oratorio. 
 
 Cantelena, (ka'n-ti-la'-na). A short lyric piece either for voice 
 or instrument. 
 
 Cantillation. Chanting, recitation with musical modulations. 
 
 Cantiones Sacra?, (ciin-te-o'-ncs sa'-cra). Sacred songs; a col- 
 lection of motettes by Tallis and Bird. 1575. 
 
 Cantus Fermus, (kan'-tus fir'-mus). The fixed song, that is, 
 the melody which is taken for treatment in counterpoint. 
 
 Canzona, (kant-so'-na). A secular polyphonic song of popular 
 character, peculiar to the 15th and 16th centuries. The cor- 
 responding French word is Chanson. 
 
 Catch. A humorous composition for three or four voices. Of 
 English origin. The parts are so written that the singers 
 catch up each others words giving them a different sense 
 than that of the original reading.
 
 DICTIONARY. 175 
 
 Cenerentola, (tch6n'-er-gu-to'-la). An opera by Rossini, writ- 
 ten in 1817. 
 
 Cervantes, (sgr-van'-tez) ; b. 1547; d. 1616. The author of 
 Don Quixote. 
 
 Chanson, (shanh-sonh). A little song; romances sung by min- 
 strels of the middle ages. (See Class I, Definition of Qualities 
 and Characterization of Song). 
 
 Chanson of Antioch. A celebrated romance or series of metri- 
 cal romances relating the incidents of the siege of Antioch in 
 thecrusades. Developed in the middle ages, and very popu- 
 lar with all the minstrels for about two centuries. 
 
 Chanson of Roland. A mediaeval romance, or series of ro- 
 mances devoted to the story of Roland, a Anight in the .suite 
 of Charlemagne. 
 
 Chamieso, (sha-mls'-o) ; b. 1781 ; d, 1838. A German lyric poet. 
 Author of the text to which Schumann set his beautiful 
 music. "Woman's Love and Life." 
 
 Chevey Chase, (tschev'-y). An old English ballad. 
 
 Clierubini. (kc-r u-bc-'-iie); 1) Florence. 1760: <1. 1S4'J. Eminent 
 Italian composer of operas. 
 
 Chorale, (ko-ra-lg). Hymn tunes. The term properly ap- 
 plies to the German mehxlies sung by the Protestant congre- 
 gations. 
 
 Chromatic Progressions. Progressions, or successions of chords, 
 in which are introduced chromatic tones and chords not es- 
 sentially belonging to the diatonic "track of the key." 
 
 Chromatic Passage. A brilliant passage of cadenxa style, in- 
 volving a large proportion of chromatic tones. 
 
 Chromatic Fantasia. A celebrated piece of music by John 
 Sebastian Bach, for pianoforte. It is very free in style, and 
 contains a long succession of very dramatic recitatives for 
 instrument only, each phrase ending in a chord of the di- 
 minished seventh. 
 
 Claronet. Instrument of 4ft. tone consisting of a mouthpiece 
 containing a single beating reed, a clyindrical tube terminat- 
 ing in a bell and eighteen openings, half closed by the fingers 
 and other half by keys. Invented by Denner. at Nuremburg. 
 If. 10; improved by K'ose of Vienna, 1S43. 
 
 Clavier, or Clavichord. A small keyed instrument, like the 
 spinet and the forerunner of the pianoforte.
 
 An appendix ; n.- hnMM0 or 
 
 added to form a more comph lose. 
 
 kont-sher-tau -te). In the style of a concerto; 
 concerted with other instrmi. 
 
 - :iou (usually in sonata 
 form) written for displaying a s->lo instrument, with orches- 
 
 mpanime! - - BB V). 
 
 Con.- . ry in combination. G 
 
 ;pon the ear by the 
 
 that tw" - 'her have a principle 
 
 of unity. The most perfect consonance is the octave, next 
 th? fifth and fourth (Itoth perfect); thirds and sixt. 
 classed as "imperfect" consonances in musical t: 
 
 - \\. Matthews" definition, the 
 
 content of a piece of music is the total impression it leaves 
 upon the most cong-enial hearer or all the author has put 
 into it, technical kn ; . :iJ skill, imagination and feel- 
 
 ing. 
 Contrapuntal, (k&n-tri-pun'-tl), R ; count erpoint. 
 
 ".: d. 1713. Greatest violin 
 
 player of his time. He laid the foundation of the future de- 
 Iniic. II - : kms advanced tht- : 
 
 the violin as a solo and also as an orchestral instrument. 
 Om- of the fir-' irtuosi upon the violin and the founder 
 
 of the f: :" instrumental and orchestral composit. 
 
 Counterpoint. The art of writ insr two or i 
 
 pr . Double counterpoint is the art of 
 
 writing I hen inverted. 
 
 The : I lic individuality in 
 
 the added voice, and a flowing- melodic motion. OouiittT- 
 nt in its fullest extent is equivalent to a complete ;t rt of 
 
 n vent ion. 
 Cramer. J. B. Ccra'-mgr); b. 1771: d. 1858. One of the prin- 
 
 !e founders of the modern ] 1. A prolifi 
 
 composer known now mainly for his studies." 
 Cre<lo. (krl'-do). I believe; f>i . - jirincipalmovem- 
 
 of the mass. 
 
 CVucifixus, (krn-si-fix'-us). Part of the Cre-<kin SL mass. 
 Cum Sancto Spiritu. (kiim sank'-to spir-i-tu). Part of the 
 ria in a mass.
 
 DICTIONARY. 177 
 
 Czerny, (tschar'-ni) ; h. 1791; d. 1857. Prominent pianoforte 
 teacher and composer in Vienna, chiefly celebrated f >r his 
 famous "studies" which are now rapidly falling into disuse. 
 
 Dance Macabre, (dance ma- ka'-br). Dance of death. The title 
 of a famous symphony by Saint-Saens. <> E.) 
 
 Da Ponte Lorenzo, (lo-rend-zo da pon'-ta). An Italian poet, 
 born at Ceneda, Venetian states, in 1749. Havin_- 
 exiled from Venice for speaking disrespectfully of the re- 
 public, he went to Vienna, where he became librettist of 
 Mozart, writing three operas, "Figaro." "Cogi fan Tutti" 
 and "Don Giovanni." Died in New York. : 
 
 !>< Capo, (da ka'-po). From the beginning. 
 
 !>.-; Pi-t-z, Josquin (zho'kanh dup-pre'). See Class B. 
 
 Dt-ucalion and Pyrrha. Deucalion and his wife Pyrrha, ac- 
 cording to the Thessalian legend were the sole survivors of 
 the deluye. To re-people the land, by command of the 
 oracle, they threw behind them stones, which immediately 
 turned into men and women. 
 
 Diapason, (dl-a-pa'-son). Greek term meaning "through the 
 octave," used now in France to mean "standard of pitch." 
 The English use it to name the fundamental stops of the 
 organ. The diapason tone of the organ is a broad, solid, 
 dignified tone quality, due to the pipes producing it being of 
 a large diameter and liberally supplied with wind, the har- 
 monics or upper partials, also, must be well represented. 
 
 Dies Irae, (di'-az e'-ra). A principal movement in a Requiem. 
 
 Die letzen Dinge, (dee lete'-zgnding'-ge). "The Last Things." 
 German name of an oratorio by Spohr. In English, com- 
 monly called "The Last Judgment." 
 
 Dissonance. A discord; an interval or chord displeasing to 
 the ear and requiring to be followed by another chord in 
 which the dissonant note is resolved. 
 
 Dolphin. A fish celebrated for its surprising changes of color 
 when dy 
 
 Dominant Seventh. A chord composed of the tones 5, 7, 9 and 
 11 of the key; called dominant because founded upon the 
 fifth of the key; and "seventh" because in n'' r>f; on to a 
 triad it has also the seventh from the root. 
 
 Dona Nobis. (do-nii no'-bis). The closing movr-m^nt of the 
 mass.
 
 ]78 DICTIONARY. 
 
 I>orian. (do'-iv-.ui). Tin; name of one of the ancient modes or 
 scales. 
 
 !>o\vland. J. An English composer and musician, author of 
 many books and songs. 
 
 Dufay, (dii'-fa). See Class B. 
 
 Eli/ai>fthan Age. Pertaining to England during the reign of 
 OjHM-n Eli/.abcth from ir>r8 to H>()3. 
 
 Episode. An incidental narrative or digression. A portion of 
 a composition not founded upon the principal subject or 
 theme. 
 
 Ernani, (er-mi'-ng). Italian opera founded upon Hugo's novel. 
 Music by Verdi, Venice, March, 1844. 
 
 Et Incarnatus, (2t in-kar-na'-tus). A part of the Credo. 
 
 Et Resurrexit, (et res-ur-ex'it). One of the parts of the Credo. 
 
 Etude, (a'-tud). A "study." See Etude, unclassified general 
 card. 
 
 Euripides, (zoo-rip'-i-dez) . Athenian tragic poet. See Class 
 A, Ancient Greek Music. 
 
 FiHd, John; b. Dublin, 1784; d. 1837. A brilliant pianist and 
 justly celebrated as the inventor of the "nocturne." 
 
 Finale, (fe-na'-lg). The closing movement of an extended 
 work ; as a sonata, symphony, act of an opera, etc. 
 
 Flageolet. The modern form of the old straight flute. 
 
 Folk-song. A song of the people. 
 
 Gewandhaus. (ge-vand'-hows) . Gewandhaus concerts. These 
 celebrated concerts originated with "das grosze concert" at 
 the time wlu-n Bach was Cantor of the St. Thomas School at 
 Leipsic. The Gewandhaus proper was established by Ililler. 
 They consist of twenty winter concerts and two benefit con- 
 certs. There is a conductor and twelve directors, the orches- 
 tra numbering seventy performers. 
 
 Glee, a vocal composition in three or more parts ; a part song. 
 English. 
 
 Glinka, (gliin'-ka). Novospaskoi, 1803-1857. A Russian com- 
 poser whose two operas are considered as of national im- 
 portance. They were among the first and best of Russian 
 operas. They were, "A Life for the Czar," 1836; "Russian 
 and Ludmilla," 18)57. 
 
 Gloria, (glo'-ri-a). One of the principal movements of a mass.
 
 DICTIONARY. 179 
 
 Gradus ad Parnassum, (grii'-diis iid par-nas'-sum). Road to 
 Parnassus. Title of some text books and collection of etudes. 
 
 Gratius Aginius, (gra'-shg-as aj'-i-mus). Part of the Gloria in 
 a mass. 
 
 Grazioso, (grat-se-o'-so). Gracefully. 
 
 Gregorian. Of or pertaining to St. Gregory the Great. He 
 established the four "plagal" scales or "modes," and the 
 "tones" or chants ever since called l>y his name. 
 
 Gurlitt, C.; b. 1818, at Altona. Author of compositions for 
 male chorus, piano pieces and operas. Best known as com- 
 poser of poetic piecas for piano. 
 
 Harmonics. Undertones. The tone produced by the fractions 
 of a string or other vibrating body. 
 
 Harpsichord. An instrument similar to the pianoforte, except 
 that the strings were plucked by means of quills instead of 
 being struck by hammers. Invented 1600 or earlier. Went 
 out of use about 1800. 
 
 Hebrides, (hgb'-n-dez). Name commonly applied to Mendels- 
 sohn's concert overture to Fin gal's Cave in 13 minor, (op. 26), 
 which he wrote in 1829, after a visit to the north of Scotland. 
 
 Hegel, (ha'-ggl). Eminent German philosopher. Celebrated 
 in music for his admirable works upon art and aethetics. 
 
 Homophony. Unison; one or more voices singing in unison. 
 
 Hosanna, (ho-zan'-na). Part of the Sanctus in a mass. 
 
 Hummel, J. N. (hum'-mel) ; b. 1778; d. ISUT. A celebrated 
 pianist and composer. 
 
 Hyblian, (hi-ble'-an). Pertaining to Hybla, an ancient city in 
 Sicily, celebrated for the honey produced on the neighboring 
 hills". 
 
 II Trovatore, (el tro'-va-t&'-reh;. The Trouluulour. Celebrated 
 opera by Verdi, Rome ]xVi. 
 
 Imitation. The repetition of a phrase or subject. 
 
 Imitation, Strict. An exact repetition or slightly modified repe- 
 tition according to certain rules as exemplified in Canon and 
 Fugue. 
 
 Improvisation. The act of singing, playing or composing music 
 without previous preparation. 
 
 Intermezzo, (in-ter-met'-so.) Interlude or detached piece, often 
 a dance played between the acts of a drama. Used by Schu-
 
 180 DICTIONARY. 
 
 ninnii mid others for short pieoes in a series having- the char- 
 acter of interlude pieces. 
 
 Interlude. A composition played between two important 
 members of a composition. 
 
 Kitliara, (kith'-a-ra) . The lute; an old instrument of the 
 guitar kind. 
 
 Koehler, Louis, (ka'-ler) ; b Brunswick, 1S_M. Musical director 
 at Koir.gsburg. Celebrated as a piano teacher; editor and 
 writer of educational works. 
 
 ki-eisleriana,(kris'-lcr i-an'-a). A set of eight pieces for piano 
 solo by Scluiinann (op. 1(5) dedicated to Chopin. 
 
 Kiihnau, J. (koo'-now) Geysing, I''>fi7-172'3. A remarkable 
 musician who became musical director of Leipsic University 
 and conductor of St. Thomas School. Invented the sonata as 
 a piece in several movenifn's, wrote dance tunes and was 
 the greatest composer for llarpischord up to Bach. 
 
 La (ia//a Ladra, (lagats'-sala-dra') . ''The Thieving Mag-pie," 
 opera by Rossini, libretto (rherardini, produced at Milan, 
 1817. 
 
 Lamartine, (lii-mar-tcn') . A brilliant French writer. B. 1792; 
 d. istV.t. Noted as poet, historian and statesman. 
 
 Lussus, Orlando, (or- lan'-do las'-sus). See Class B. 
 
 La Traviata, (la trii'-ve-a'-ta). An opera by Verdi produced 
 at Venice, March 1S53. 
 
 I/ Momne Anne, (lom-ar-ma'}. "The Armed Man," the name 
 of an old French Chanson the melody of which was used by 
 many of the Netherlandish masters as subject for movements 
 in masses and other compositions. 
 
 Libera Me, (lo'-bfi-rii ma). "Deliver me, O Lord," one of the 
 hymns from the ftoman Catjiolic Ite&ponswhini used at the end 
 of the Requiem mass on solemn occasions. 
 
 Litoltf, II. C., (ht'-olf); b. London, 1818. Pupil of Moscheles 
 and eminent j>ia!iist and composer. 
 
 Loeschhorn, A , (lash'-orn) ; b. Berlin, 1819. Pianoforte pro- 
 fessor in Berlin. Author of many valuable and well known 
 etude.s. 
 
 Lohengrin. Three act dramatic opera by Wagner. Composed 
 in 1*47 and produced at Weimar by Liszt in 1850. 
 
 Magniticato, (mag-nif-O-ca'-to) . Part of the evening service of 
 the Catholic Church.
 
 DICTIONARY. 181 
 
 Marbecke, J. ; d. 1585. Adapted old plain song of Latin ser- 
 vices to English book of common prayer. 
 
 M'-Tfssille. Calm at Sea and Prosperous Voyage, poem by 
 Goethe. See Manual of Music, p. 3f>,s. revised edition. 
 
 Mensural. Applied especially to music to which measure was 
 applied See Class 13. 
 
 Mepliistopheles, (met- is tof'-e l&.) . The Devil. Name ap- 
 plied to the Satanic character in Goethe's Faust. 
 
 Midsummer's Night's Dream. Music, for this play by Mendels- 
 sohn. (1) An overture, 1827; (2) Twelve numbers pro- 
 duced by command of the King of Prussia. 1843. 
 
 Millais. John E . (mil-la' j. An English painter. 
 
 Modal, (mo'-dal). Pertaining to mode or mood; relating to 
 form. Having the form withi ut the essence or reality. 
 
 Monody, (mon' o-dy). A composition upon one subject. 
 
 Monothetic. ( moil- o-thfit'-ic). Implying a single essential 
 element. 
 
 Monophony. (mon'- o-fo-ni). Same as monody. 
 
 Motive A short fragment of melivdy usually one measure in 
 
 . length usi-d as a pattern, model, design. 
 
 Morl'-y. 'I Immas. Pupil of Bird in 16th century. Noted 
 Ei.glish composer. 
 
 Motet. A short vocal composition for church use; nearly 
 Mjiiivalent to anthem. 
 
 Mueller, Max, (mel'-Ier). German-English Sanscript scholar. 
 
 Nei-i. San Phillippo, (na'-re). Italian founder of the society 
 "Priests of the Oratory." 
 
 Node. Point of division in a string when it is vibrating in 
 fractions. 
 
 ;ion. The manner of representing to the eye. Musical 
 notation comprises lines and spaces representing scale de- 
 grees, the clefs determining the absolute pitch intended by 
 the lilies and spaces, notes indicating the number of musical 
 utterances required, and by their forms the relative length 
 of utterance. 
 
 Oboe, (ho'-bo). A modern reed instrument of two-foot tone 
 borrowing one or two semitones from the octave above, it 
 is played with a doulile reed. 
 
 Oflertorio, (5f-fer-to'-re-o). A hymn, anthem or instrumental 
 piece sung or played during the collection of the oflertory.
 
 182 DICTIONARY. 
 
 Offertorimn. Same as Offertorio. 
 
 Okegham. (o'-kfx-gliem). See Class B. 
 
 OJHIS, (u'-pus). Work, Used to number the published works 
 
 of a composer in the order of publication, as Op.l, Op. 2. etc. 
 Overture. A piece introducing- an opera or play. Usually in 
 
 sonata form, and generally intended to foreshadow the emo- 
 
 tional contents of what is to follow. 
 Palestrina. (pal-fi-stre'-na). See Class B. 
 Phoi minx, (for'-mmx). Alyi--. 
 Pianissimo. (pc-an-Os'-se-mo) . Extremely soft. 
 l'i//cato. (pet-se-kii' to). Pinched. A direction to pick the 
 
 strings of a violin, etc. with the ringers, producing a staccato 
 
 effect. 
 Plagal Cadence. Applied to the close made by the under-rifth 
 
 (sub-dominant) chord followed by the tonic. 
 Plagal Modes. Opposed to "authentic." Ancient church 
 
 modes or scales running from under-tifth of the "authentic" 
 
 Polyphony, (po'-lif-u in). "Many sounds." I'sed of music 
 
 with two or more independent voice pj.rts or melodies pro- 
 
 ceeding simultaneously. 
 Polythetic. Plurality of parts. 
 Pot-pourri, (pot-poor- re). A medley. 
 Prelude, (prtMnde). A preparatory passage or movement in- 
 
 tended to lead to something else. 
 Presto, (pres'-to) Quick, rapid. 
 Programme-music. Music intended to express the succession 
 
 of emotions suitable to the successive incidents of a story. 
 
 and perhaps also to suggest those incidents 
 Ptolemy. Claudius, (tol'-e-mi). Greek-Egyptian astronomer 
 
 and geometer. Was also a learned theorist in the mathe- 
 
 matics of music. In his "Harmonik" he gives a summary of 
 
 all the Greek learning upon this subject. Lived at Alexan- 
 
 dria about 200 B. C. 
 Purcell, H.; 1658-1692. English composer of songs, overtures 
 
 and operas, and chamber music of great merit. Did much 
 
 to advance and elevate art in England. 
 Rebec. A Moorish word signifying an instrument with two 
 
 strings, played with a bow.
 
 DICTIONARY 183 
 
 Recitative, (r?-si-ta-tev'). See Characterization of Opera. 
 Claw 
 
 Reinecke, Karl, (rln'-ek-e) ; b. 1S24. Eminent German per- 
 former, conductor and composer. 
 
 Rigoletti, (rC--go-la'-to). Opera by Verdi. 
 
 Rinuccini, (re-noo-tache'-ne) . Wrote the words of Eurydice. 
 the first opera. 
 
 Rondo, (ron'-do). A round; piece in winch the principal 
 theme constantly reappears with connected links between 
 the repetitions. 
 
 Round. A species of canon in the unison or octave, a 
 vocal composition in three or more parts, all written in the 
 same clef, the performers singing each part in succession. 
 
 Sanctus. (sank'-tus). Holy. One of the principal movements 
 of the mass. 
 
 Semirade, (sa-me-ra'-dgh) . Opera by Rossini, Venice. 1^'J.;. 
 
 Scherzo, (skart'-so). Play; sport; jest. 
 
 Schmitt, Aloys, (shmit) ; 1789-1 866. Distinguished as a piano- 
 forte teacher and as a voluminous writer of studies and 
 pieces for his instrument. 
 
 Sixtrtte. A composition introducing- six void 
 
 Saloman Symphonies. A Series of twelve symphonies com- 
 . by Haydn, and first intnxluced at Philharmonic cn- 
 . London. 
 :re. (sci-na'-r6). To sound. 
 
 Soj>hocles. (sor-o-kliz) . Greek tragic poet. 
 
 Stabat-Mater, (sta'-bat mat'-tgr). "The mother etood." A 
 hymn on the Crucifix. 
 
 Stretta. (strat'-ta). Concluding passage taken in quicker time 
 to enhance the effect. 
 
 Suite, (sweet). A series of pieces to be played in connection. 
 The suites of Bach and Handel had six or eight pieces, all 
 in the same key. and contrasted in tempo and character. 
 
 Sussemeyer. F., (siis'-mi-er) : 1766-1803. Director and com- 
 poser to National Theatre. Vienna. 17!'">. Friend of Mozart 
 and composer of operas, etc. 
 
 Tallis. Thomas. Court organist to Henry VIII; d. 1585. The 
 greatest benefactor of English church music. One of the 
 greatest contrapuntists.
 
 18 4 DICTIONARY, 
 
 Tartini, fj., (tar-te'-ne) ; 1692-1770. Leading violinist of his 
 
 time. Founded a violin school and new system of harmony. 
 Tarantelle, (tar-an-ta'-lc > . A whirling, swift Neapolitan dance 
 
 in >-S time. 
 Tausig. C., (t. i Ml-l>71. Pupil of Liszt, and one of 
 
 the very greatest pian: 
 Te Dsam Ltulimus. (tS-da'-um lau'-da-mus). We pi 
 
 Thee. A hymn of pra: 
 
 re, (t.lmlihr). Quality of tone or sound 
 Tonic-triad. A triad on the tonic or fundamental tone in the 
 
 major or minor. 
 Triplet. A group of three notes played in the usual time of 
 
 two similar ones. 
 
 Troubadour. A ban! and poet-musician of the middle ages. 
 Ts.-haik.'wsky. Peter, (tschi-kotf -ski : !. 1M<>. Prominent 
 
 Russian composer of the modern school, 
 Tutti, (toot'-te). All the strings. 
 Veda. The ancient sacred literature of the Hindoos, 
 Vikings. The pirate chiefs from among the Northmen, who 
 
 plundered the coasts of Europe during the Sth and 9th < .-n- 
 
 tur 
 
 Virtuoso, (vcr-too-o'-zo). A mastferly performer 
 Willaert, Adrian, (vil-larf). See Class B. 
 
 Weelkes, Thomas. Organist of Winchester and author of mad- 
 rigals printed in 1597. 
 Zarlino. G., (tsdr-le-no) : l."I7-l -V.<). Organist and director at 
 
 Saint Marks, at Venice. Distinguished as a theorist and 
 
 composer.
 
 INDEX. 
 
 185 
 
 GENERAL INDEX. 
 
 Page. 
 
 AMBROSE. ST., Early Ec.-lesiastical Music / ^ e ^ la , r 
 
 i Normal (Hi 
 
 Ancient Egyptian Music. . . -*^ eg '' 
 
 / Nor. K 
 
 Ancient Greek Music. . . j S eg ' " -'' 
 
 '\Nor. ;m 
 
 Ancient Hindoo Music. .. . / S egg 
 
 \ Nor. J5 
 
 BACH, C. P. E.. 
 
 Sonata in F Minor. . -J ? eff> " 68 
 
 \Nor. " 112 
 
 BACH, J. S., 
 
 Oratorio, Passion Music. . . . / i; e ^' 
 
 \Nor. 11)4 
 
 DBETHOVEy. Ll DWHI VAN. 
 
 Concerto. "Emperor" E Flat op. 73 .... j ****' " 1 ; ^ 
 
 Opera, Fidelio. . ) e g. " 37 
 
 / Nor. ID'2 
 
 Oratorio, Mount of Olives.. . * ^ r eg-- 
 
 / Nor. in.) 
 
 Quartet, E Flat op. 131 .* ^' ' "; 
 
 Sonata. Appassioiiata. . -* ^ e ^' ' 66 
 
 i Nor. 113 
 
 Song, Adelaide /[ .' 
 
 Symphony, Fifth in C Minor > J^' [ ^ 
 
 BISHOP, SIR HKXRY, 
 
 Song, Home Sweet Home . . I ** eg ' 1 
 
 \Nor. ' 119 
 
 BRAHMS, JOHA> 
 
 Quartet in C Minor j ^' " JJ 
 
 I'A\ M.IKRK. EMILIO DP:L, 
 
 Oratorio. Repreaentatkm of the Soul and \ Reg. %> 4u 
 
 B'xly (i Nor. " 104 
 
 Chamber Music. Definition of Qualities and ^ Reg. " 70 
 
 Characterization ' Nor. " 115
 
 186 INDEX. 
 
 CHOPIN, FUKDKRIC, Page. 
 
 f Reg. Course 
 Comvrto in E minor op. 11 ............ < j^ o t 
 
 a! in Music. The .................. -. Nor 
 
 ( 'tim-i-rto, Definition of Qualities and Char- ( Reg. 
 acteri/.ation ........... , .............. ( Nor. 
 
 iMinition of Music. Its beginnings ........ < -' 
 
 Quartet for Strings, G Minor ......... j 
 
 Oratorio, Creation < XT e ^ 
 
 \ Nor 
 
 Sonata in E Flat -* 
 
 Symphony, "Oxford" j 
 
 Nor. 
 
 58 
 111 
 
 86 
 120 
 
 56 
 110 
 
 11 
 
 93 
 
 DuNI/.l-.l II. (i AKT \SO, 
 
 Opera. Lucia di Lammermoor j No?' " 103 
 
 ( Reg. " 28 
 
 Dutay and Early Polyphony j pl o tl , ( _ 
 
 Early Christian Music, Distinctive Char- \ Reg. " 23 
 
 BTfflf /Nor. " 96 
 
 Etude. Qualities of -j ^ .') jg 
 
 ( Reg. " si 
 
 JNor. 121 
 
 FAI-RK. J. P. 
 
 g . Palm Branches | 
 
 Franco of Cologne and Franco of Paris -! M OT 
 
 f J^l OI*. if I 
 
 ................... ............ :: f 
 
 GLITK. C'lriiisToriiKR, 
 Opera, Orpheus,.. 
 
 . . 
 GOONOD, CHARLES, 
 
 Onera F-iust i Re ^' " 4 
 
 ' ' ' \ " 
 
 Gregory the Great, St., and his Reforms. . . j 
 , EDWARD, 
 
 Nor. " 103 
 
 Guido. Sc.lmi/ation and Staff i IV " <r 
 
 HAYDN. FKANCKS JOSEPH, 
 
 ir. 
 ID.-) 
 
 C,4 
 112 
 
 54 
 107
 
 INDEX. 187 
 
 HANDEL, G. F. , Page. 
 
 Oratorio, Messiah.. .. { * ; Course ' j* 
 
 History of Music ; Reasons why it should be f Reg. 84 
 
 Studied \ Nor. 120 
 
 Hucbald, Diaphony, Organum and Notation. - 
 
 97 
 INSTRUCTIONS 125 
 
 i Specific Cards 125 
 
 CLASSIFICATION OF CARDS. < Classified General Cards. . . .125 
 
 (Unclassified General Cards. .126 
 
 How Books are Composed 126 
 
 Value of Books 127 
 
 How to Acquire the Cards 129 
 
 Requirements of the Progressive Grades 131 
 
 Normal Course (Instructions.) 153 
 
 Normal Course (Questions.) 93 
 
 Supplementary Rules and Suggestions 160 
 
 LASSUS, ORLANDO, and His Place in Art \ xr^ 
 
 { IN or. yy 
 
 LISZT. FRANZ. 
 
 Concerto: First in E Flat major j R 
 
 Symphony, Les Preludes .............. j N ^' 44 log 
 
 Literary Interpretation in Musical ^Esthetics < j^or * i OA 
 
 LULLI, J. B., 
 
 f Reg. " 35 
 
 Opera, Armide ........................ \ Nor. " 101 
 
 LfTHER. MARTIN, and the Protestant Chorale, j ' 
 
 Madrigal, and its Related Part Songs, The, -I j^ o f 122 
 
 j Reg- " 91 
 
 Mass ...................................... \Nor. " 122 
 
 MATTEI, TITO, 
 
 XT tr J Re g- " " 
 
 Song, None Ver ...................... j Nor. 118 
 
 f Reg. " 26 
 
 Mediaeval Secular Music .................. -s jj o ^ t , gg 
 
 MENDELSSOHN, FELIX, 
 
 Concerto in F Minor .................. j jjor " 111 
 
 i Reg. " 46 
 
 Oratorio, Elijah .................. -j Nor tt 1Q5 
 
 Symphony, Scotch in A Minor op. 56. . j Nor.' " 108 
 
 MEYERBEER. GIACOMO, 
 
 Opera. The Huguenots ................ { 
 
 13
 
 INDEX. 
 
 Page 
 
 Opera. Don Giovanni. . .... ..... | 
 
 Sonata in C Minor .................... j ** ." ^ 
 
 Symphony. Jupiter." -[ ** [[ ^ 
 
 rn,. ............. ..*' 
 
 " 122 
 
 Okeghain. Des Pres, Willat-rt and Gombert. j S ep- 
 
 (^ IN Ol*. tro 
 
 ( >lM-.-a. rharai-terisation "f ................. -J 
 
 . D.'Hnition of Qualities of ............ | 
 
 Oratorio, Detinition of Qualities and Char- \ Reg. 42 
 
 , acterization of ..... ...... /Nor. 104 
 
 PACAXIM. Nn 
 
 Concerto in E Minor ................... -J ^J; ].' ] ^ 
 
 : HI.N A and Pure Church Music ........ -) 
 
 PKKI. JACOPO. 
 
 Open, Eurvdice.. . j 
 
 Principles of the Beautiful, The ............ { 
 
 Pronunciation, Key to.. / Re 8T- " 33 
 
 \Nor. 124 
 
 Requiem ...... \ Reg. " 87 
 
 "/ Nor. 123 
 
 Romantic, Definition of the.. / Re ir- " 90 
 
 (Nor. 124 
 KOSSIXI, GIOACHINO, 
 
 Opera, William Tell .. (Reg- " 38 
 
 ' ' 1 Nor. " 102 
 . AXTON, 
 
 Trio. B Flat Major op. 52 .............. . R g- " 70 
 
 SAIXT-SAKNS. CHARLES C., S " r< U6 
 
 Concerto in G Minor.. j Re g~- " 60 
 
 / Nor. 110 
 
 Quintet for Piano and Strings . . . / Re - " " 3 
 
 ' \Nor. 116 
 
 Symphony. Dance of Death / Re T- " 53 
 
 ' \ Nor. " 109
 
 INDEX, 189 
 
 SCARLATTI, A., Page 
 
 , , / Reg. Course, 35 
 
 Opera, Teodora ....................... j N( 4i 1Ql 
 
 SCHUBERT. FRANZ. 
 
 {Ree " 74 
 
 Nor.' " 115 
 
 ( Reg. " 66 
 
 Sonata in A Minor ..................... j 4t -. ,o 
 
 f Reg. " 76 
 
 Song, Erl King ........................ ^ No ng 
 
 f Reg. " 52 
 
 Symphony in C Major ................. j No _ 1Q g 
 
 SCHUMAXX. ROBERT, 
 
 ( Reg. 
 J 
 
 . _,. 
 
 Concerto in A Minor .................. . 
 
 ( 
 Quintet in E Flat .................... ] y 
 
 Sonata in G Minor op. 22 .............. < Nor. 
 
 Song, He, the Noblest 
 
 i Reg 
 
 - - 
 
 Sonata. Definition of Qualities and Charac- \ Reg. 
 terization of. .......................... / Nor. 
 
 Song, Definition of Qualities and Character- ( Reg-. 
 
 58 
 ^j -, 
 
 74 
 jjg 
 
 114 
 
 77 
 -^ 
 
 63 
 112 
 75 
 ization of ............................. \ Nor. " 118 
 
 Song Without Words ....................... j 
 
 SPOHR, LTDWIG, 
 
 Oratorio, Last Judgment ............... -j 
 
 STLLIVAX, SIR ARTHUR, 
 
 Song, Lost Chord . . . . . { g^- ;| f J8 
 
 Symphony. Definition of Qualities and Char- f Reg. " 49 
 
 acterization of ........................ \ Nor. " lt)7 
 
 ^e Beum / Re ^' 
 
 \Nor. 123 
 
 Typical Musical Forms .................... -j 
 
 VEBDI, G.. 
 
 WAUXER, RICHARD, 
 
 Opera, Tristan and Isolde ............. < XT ^' .. IA-> 
 
 WEBER CARL vox, 
 
 TA ^ u i Reg- " 38 
 
 Opera, Der Freischuetz ................ - -r .. , ()0 
 
 c, . \ R^ff- " 69 
 
 Sonata in A Flat ...................... - mrjl .. 110